V 


The  Publication  Committee  of  the  Grolier  Club 

certify  that  this  copy  is  one  of  an  edition  of  three 

hundred  and  fifty  copies  on  Holland  paper,  all  of 

which  were   printed   from  type  in  the  month  of 

April,  1892. 


CATALOGUE 

OF  AN  EXHIBITION 
OF  PAINTED  MANU 
SCRIPTS  AND  BOOKS 


nil.    hoi  RS   OF    THE 


Catalogue  of  an  ex 
Jl\  hibition  of  illu 


MINATED  AND  PAINT 
ED  MANUSCRIPTS  TO 
GETHER  WITH  A  FEW 
EARLY  PRINTED  BOOKS  WITH  ILLU 
MINATIONS— ALSO  SOME  EXAMPLES 
OF  PERSIAN  MANUSCRIPTS— WITH 
PLATES  IN  FACSIMILE  AND  AN  IN 
TRODUCTORY    ESSAY 


THE  CALLIGRAPHER  AND  THE  PRESENTATION 
OF  A  BOOK  £*  MINIATURES  FROM  A  MANU 
SCRIPT    IN    THE     BIBLIOTHEQUE     DE     CAMBRAY 


NEW-YORK  THE  GROLIER  CLUB  1892 


• 


Copyright,  1892,  by 
TlIK   C.ROLIER   CLLi 


INTRODUCTION 

HIS  is  the  second  attempt  of 
the  Grolier  Club  toward 
an  exhibition  of  painted 
manuscripts.  The  first  was  made 
shortly  after  its  foundation,  about 
eight  years  ago,  when  the  ma- 
terial available  for  the  purpose 
was  much  less  than  at  present. 
Beautiful  as  some  of  the  specimens  now  shown  may 
be,  the  collection  as  a  whole  presents  no  adequate  ex- 
emplification of  the  art  of  book-making  previous  to  the 
invention  of  printing,  or  to  the  final  triumph  of  this  art 
over  that  of  the  calligrapher,  the  illuminator,  and  the 
miniaturist.  Such  an  exhibition  would  be  impossible 
in  this  country.  None  of  the  examples  in  our  catalogue 
date  further  back  than  the  commencement  of  the  thir- 
teenth century.  It  was,  however,  after  this  period  that 
the  most  artistic  and  fascinating  volumes,  enriched  with 
miniatures,  were  produced.  The  majority  of  those  ante- 
rior to  that  time  are  more  interesting  from  an  archae- 
ological and  literary  point  of  view. 

vii 


M9476' 


ILLUMINATED  AND  PAINTED  MANUSCRIPTS 

.  ptiim    writings    upon    papyrus    rolls   have   little    in 

i  >'r:n<>;:  with  the  modern  book  made  of  separate  leaves 

bound  logetbej       Papyrus  was,  however,  employed  to 

[tent  in  volumes  made  in  die  early  centuries  of 

the    Christian    era;    but   the    majority    of  the   manuscript 

books  of  which  we  have  positive  knowledge  arc  written 

upon   vellum.     This  proving  the  hast  perishable  and 

the  most  satisfactory,  papyrus  ceased  to  be  used  to  any 

it  extent  in  Europe  after  the  sixth  century,  while 

examples   of  earlier   date    are   excessively    rare. 

There  are  preserved   in  some  of  the  older  libraries 
richly  ornamented  leaves  and  fragments  of  vellum  bo< 

thought  to  date  from  the  third  century  of  the  Christian 
and    with  these  properly  commences   the   history  of 

the   modern  hook. 

i  he  earliest   existing   manuscripts    of  importance   av<- 

now  in  the  Vatican  library  at  Rome,  in  the  Imperial 
Library  at  Vienna,  and  in  the  National  Library  at  Paris. 
The)-  an  of  Virgil,  oi  Terence,  and  ofportioi 

the  Bible  Experts  differ  as  to  the  exact  time  of  their 
production:  some  place  the  execution  of  one  of  the 
copies  of  Virgil  in  the  Vatican  as  early  as  the  fourth 
century,  others  have  thought  it  to  date  from  the  preced- 
ing century;  but  there  seems  little  doubt  that  it  was 

written  in  the  latter  part  of  the  fourth  or  commencement 
of  the  fifth  century.     These  volumes,  like  the  part-  of  the 

Bible  In  the  Vienna  library,  and  the  Roman  Calendar 

viii 


;r&<£*r\ 


I 


mat  ^smarm  onroi  <f  \ 
MM  W  ft  an  mottnr  1 

na&ta>-3rtirhc!>«r  (rtrfbl  >fiuri 


C&utff  0  ttvf  rtjlcrfrrtimi  wntcM  nolnli  rrknr 

rrmmil  rultf  ta(Hi»t  dtO£-  unidllA  t>Cf=»  nuiii 
fttd  ttmd  f uforwc.  JrtoSmn  to*  q  Mmc 


CittTfrfTCW 


t«ftfiMW^apttt«tfc«ttc«ftni.cufttn  ^  ,1  yrtirtttcfttt<uii—  iiH^yKwc'frq' m 
itOttwamrtitr^Whrr-il    IHt>:t»hn<hqphcraaiiuutofti«rT«lhol 

qtntr  tto  tira  hfc  que  Attn  fadi  |mur 
tt-uof«rmnlqtifq>  lcrtrcnn  fohni  pfiht* 
ftutfutt  •  crin  fnafitf  hbstt  ritan  ft*  4* 
>mttrnTratC  in*  tttwtiq'  fetn^Vcttmcr  u 
ynh^^m^^^t^^  fmtttfcfl  que  ftihicttrt  funr 

ftcne rw Af©  jHtoftnr  a' brtnc*  m  mt> 
<mo<mtAtftndftmritmTcrmaq«f  bn 
mtthttmtt  crtrt  trm^rft  cutotrw  feiV 
icgtmxbiTtmciirrteJhmh'urtiTuA^TiohJ 
War  coatn  ■  mAfctftoflc  o>^»  cr  («>i»  m<t»_ 
Cjflnfr  uctmmmi  rAmTtr  erttittnepwi* 

1  TCm»buf*l«>  "\ob- 
^'  1  tfth-crcutrutrdefha 
M  j'lcvti  lttluriU  mucne 
I  tCUUI^ItTttCfrtwrtU). 

>l  Oitanf  funrevvn-flht? 

i'->l  nrffthca  fim  nHMBi 

icnutta  •  crrna-m-ahB* 

Ute-qumflttrrt  q»tuflrttPtitB?qt^Wit|0 

n^ikfihmln\  rmtkn  tmmTctaxw  tortir 

tttty!rnviAm:iMnr<!>mnnlicCCrtW»rfBii 

At  fuc  crrnrtnmitf  tittmtttn-Ttrf  Ccttncc 
{ir«Ji~itrtt»mt.*wmtrMltttTrrumuccir 
CnrnxFTO  (XOrm  ttacfounui  trturtcitr  ttnr 
rchtrd*  c*ftW  ?  fttftflmr  mof  fcrnfinflrv 
q>  chlntul*  (MfathH  "hiWqfturtrt  t  fnipVo 
^rthtr*imtrticiSw^t«rtmWiih«mf( 
crWUhumu  front cftuhfr'fmfrftf  flhr 
Wn^  ttmittfatrt"  •  (fctinJOtn  fttT  to it  n  nr 
uemffcttr^ta  tn  m-ftfl"rtictwir  aw  die 
■PW  Of  cr  ■HMi  cttTT«BCV* 
a;  ticnur***  sacgfThr^fnttnt  n*r» 
pihuHttltB  fibB^OEQtp  tWflU  «•  tttraf 
Aattranr  tottftiMCpait9l,(f  nfti  unufti 
wrttbfiw  fiwfitrtr«thrfr»T7»nr 
trum  -  trtttrtcurrt  tn  tot  r&x\  tcjf  rmtato- 
t\imqm>  fnrthti  umatflP  ^  rflytni 
mMuwh  nity  ?  ttvntiT  ciitrmmifl&f  Oi^ 
fHhntihn  cj  ^  ctnttnttn :  t*^rt"t»ihnni 

»rm.  ^>  cwrmc  |MMkM  mrtwtf  ^«a 
n«ih«  CT'tihtftCttmttrt  qitc  ^fRiernrtfi 


.^urtit^til  qitftycftncf  met  ttttttf  mc tn\»<r 
uttitmiut  lfllt«Wc-niirlhmq;«trfTAi 
^ncm  TC^hctuctn  I  fi  ur  cA  qtif  ni  Hh^  i^ta- 
Mtftutrt  iunrtur<v«ttfa  fturcmr  ttxv 
rpr  land  tefmtoft.  ntrtttrttfhwd  q€i  ttrr 
Vnkj  Mic  ii  uum  qtii  cn»  d»:  en  rtnwic* 
cr  pr  djehemujTcT-tn  Wrmd  Ttncto  tf 
ftfmnmnir«rr^tn«>nft)rcriTT}>««ra|H»i 
Vfopb^rsctrm  funmi"  A'  0  ityn>  anvf^irf 
•ba>  cdmMKtu  tih«  h^MM  tt>«tifcin 
tc  •  1  utenf  rtqaod  •  cr  fifrnArtti  iT  ,^  rdtcflt> 
ODti  mWuftttTrriictcnn  ftntrrcftim  qiu 
ttnxtn1!  mttHa  fmuABwrnuwa  unTnt 
ntatmc  tdimmr:  crt«  tn  ct^ioinrm- 
tfn>  «rt>nrcrctfli>tjihmn-di)tflathar; 
Atittf.  qi'rto  nic\firt(*  tVhmHic  \\ntmrt;< 
vanirniTnjfrer  ucwflmn  nnnrtn  mcrt  fti 
Tt  pwnhtrtni  ftudumiiiifr-oniifl?lrcfr 
tnr  JtS'u.fel  «t>aifl^.  cr  Mtnhrttri  enf 
•pint*  ct-fiwi  .^ptrfcrmwic.  1'Afhihtfi 
Min  M  mill  (rmriccteth' « trhec  ng<lv\ 
»  H.lbfAnrcnutiMttn^iiaxf  hbi*TT 
m  mh:  dn  trywyutttnto^  lYrprmoq; 
^itqnt>fTi'itnainil>'  uruulfttv  Aunir* 
lnnr<>Ti  cnl  t»t^rrcrrtt*ii  <|§  o>>«tr 
Ntmtii  tu  tnctfq'  pHnrihtr-^jm^rbfr 
cahU/tf-  cruMi  ctai  ^>uld»t»f  ttS^tccTq1  ctfi 
iw^vnrAucdtu^  cnltrmtril  (fwtfer 
mca  tmrrt  bdntoHirm  Umttnmi  mwm 
W:c  TTttnQtkri  tlhclijrdrmnjfqittfet  ffufc 
<rft«d»ftao  fir  mdytfqM«rthti<«hi(j*cn 
^  -»»*•  wV/J  ilur  ftftdlrtra  )nrm  iTJtii^ 
|IM^  y*  !i"«co  tctrtttiu^M  ftnt-e 

^^r  fr  ^v\tn-ni  Uittnt  tuOnif  met  anac 

k  pctvmv«nc"crMCumfp^ 

^ J^Mfclh  ata  tike  tHotrta:  nUc 

fttl  ^tn  amitamr  uOU»  cvpm  ab  urn  qtu  tT 
runrc  ct-ihrnrltB  >inmor  n<vhmmnm> 
ui^w  CctmV  tnqriihtftpftttyAtt.  enr: 
ni  grwnniTtnn<rmn%edntrtmtan(^fifn 
QnuTticnn.crctcwcf  n  rttrfenr  fl  (emc- 
EBitrt  c'TiiicnrtBrtTcwnucnm.  nr?" 
ofcflh  pliftji  m«A  r!  rt  rc,Ynr:>ii«t  tnaqic 
Milrtrt^rhtV  uMunrr«>tccfq:fiflft>irC 


I    BIBLE 


ILLUMINATED  AND  PAINTED  MANUSCRIPTS 

(also  in  Rome),  have  painted  miniatures,  and  in  com- 
mon with  many  others  are  not  only  transcriptions  but 
probably  copies  from  still  older  originals. 

The  majority  of  the  earliest  manuscripts  are  artistically 
Greek,  and  mostly  written  in  the  Greek  and  Latin  lan- 
guages. The  Byzantine  Empire  created  a  type  of  art  of 
its  own — a  religious  art,  having  its  source  in  the  Roman 
decadence,  and  influenced  by  the  Greek  and  the  semi- 
barbaric  styles  of  the  Orient.  The  earlier  books,  there- 
fore, may  be  generally  classed  artistically  as  either  Greek, 
Latin,  or  Byzantine. 

It  is  a  popular  idea,  owing  probably  to  the  fact  that 
during  the  middle  ages  most  of  the  learning  was  con- 
centrated in  the  monasteries  and  religious  houses,  that 
all  the  manuscripts  were  made  by  the  monks.  This  is 
not  true.  Although  no  doubt  many  were  produced  by 
them,  a  large  proportion  was  the  work  of  professional 
scribes,  illuminators,  and  miniaturists.  They  formed, 
during  the  centuries  preceding  the  discovery  of  print- 
ing from  movable  types,  and  even  for  one  hundred  years 
after  that  time,  a  vast  army  of  workers,  under  the  pro- 
tection of  kings,  princes,  and  prelates,  by  whom  they 
were  encouraged,  restricted,  or  granted  special  privi- 
leges as  whim  or  necessity  determined. 

To  the  scribe,  the  illuminator,  the  miniaturist,  and  their 
patrons  we  owe  not  only  the  preservation  of  literature, 
but  it  is  they  who  bridged  over  for  us  the  great  gulf 
2  ix 


ILLUMINATED  AND  PAINTED  MANUSCRIPTS 

dividing  the  arts  and  literature  of  Greece  and  Rome 
from  those  of  modern  Europe,  making  a  Renaissance  pos- 
sible. Eventually  the  art  of  printing  from  movable  type 
annihilated    these    laborious    benefactors,    who    during    a 

century  after  its  di  (about  the  >  ear  1440)  worked 

on  in  emulation  of  the  printer,  vying  with  him  in  the  pro- 
duction of  beautiful  books.  He  in  turn  employed  the 
illuminator  to  add  additional  luster  to  his  work.  The 
struggle  was  an  unequal  one,  and  the  beginning  of  the 
nth  century  saw  the  complete  extinction  of  the 
miniaturist  and  of  the  painter  of  ornaments  and  initial 
letters.  The  scribe  perpetuated  himself  in  a  measure  as 
engrosser  of  deeds,  patents,  wills,  and  the  like,  until  at  the 
u  day  he  has  degenerated  into  the  "typewriter." 
Printing  has  been  styled  "  the  art  preservative  of  all 
arts,-'  but  as  we  turn  from  the  fascinating  pages  of  a 
manuscript  to  those  of  the  printer,  attractive  as  they 
may  be,  ire  see  that  he  has  converted  the  calligrapher 
into  a  t\  pe-founder,  the  miniaturist  into  a  designer  for 
WOodcutS   and  copperplates,  and  the  illuminator   into  an 

engraver.  The-  text  cunningly  written  upon  fine  vel- 
lum, the  delicate  gilded  initials,  the  quaint  and  fanciful 
borders  to  the  pages,  the  historiated  capital  letters,  the 

richly  painted  artistic  miniatures  —  all  these  are  arts  <>i 
the  past  which  no  amount  of  printing  can  n  store. 

Trad--  after   the  sixteenth   century  eclipsed    art.  so   far 

1  an-  concerned. 

X 


ILLUMINATED  AND  PAINTED  MANUSCRIPTS 

Independently  therefore  of  the  paramount  value  of 
manuscripts  as  preservatives  of  all  literature  previous  to 
the  invention  of  printing,  they  possess  a  fascinating  in- 
terest to  art  students.  Unfortunately  the  bindings  of 
gold,  silver,  and  ivory,  inset  with  rare  gems,  of  which 
there  are  strange  traditions,  have  almost  all  disappeared, 
victims  to  a  cupidity  which  has  nothing  in  common  with 
either  literature  or  art. 

In  order  to  obtain  a  clearer  insight  into  the  various 
departments  of  industry  and  art  entering  into  the  pro- 
duction of  illuminated  and  painted  manuscripts,  they  may 
be  divided  for  consideration  into  four  classes : 

First.  As  to  the  vellum  or  parchment. 
Second.  The  work  of  the  calligrapher  or  scribe. 
Third.  The  art  of  the  illuminator. 
Fourth.  The  miniaturist. 

VELLUM   AND    PARCHMENT 

JjJellum  is  the  best  of  all  materials  used  for  manu- 
}mK  scripts.  Judging  from  examples  of  printing 
upon  it  in  the  fourteenth  and  fifteenth  centuries, 
it  would  seem  to  claim  superiority  over  paper  for  the 
modern  printed  book,  but  those  employing  it  for  this  pur- 
pose know  that  it  is  now  unattainable  of  a  quality  at  all 
approaching  in  perfection  that  made  either  in  the  middle 
ages  or  during  the  Renaissance.  The  old  vellum  is  smooth, 

xi 


ILLUMINATED  AND  PAINTED  MANUSCRIPTS 

i.  and  white,  and  retains  these  qualities  indefinitely. 
That  in  several  of  the  Bibles  exhibited,  and  made  about 
the  year  1200.  is  more  delicate,  pure,  and  flexible  than  any 
paper,  old  or  new,  and  with  any  reasonable  care  it  will 
probably  remain  the  same  for  hundreds  of  years  to  come. 
Vellum  was  made  of  the  skins  of  animals  (  mostly  sheep 
and  goats),  prepared  with  chalk  to  insure  the  removal  of 

isy  matter,  and  rubbed  down  to  an  uniformly  smooth 
surface  with  pumice  or  some  similar  substance.  Immense 
quantities  were  produced  all  through  the  middle  ag 
although  cotton  paper  was  used  in  the  ninth,  and  linen 
paper  began  t<>  be  made  in  the  tenth  century.  The 
height  of  luxury  in  manuscripts  was  the  employment  of 

len  letters  upon  purple-stained  vellum.  The  cele- 
brated "Book  of  1  lours"  of  the  Emperor  Charlemagne 
was  of  this  character;  although  purple  vellum  was  made 
previous  to  his  day.  and  as  early  as  the  fourth  or  fifth  cen- 
tury. Yellow  or  saffron-colored  vellum  was  also  used  in 
manuscripts  in  the  fifteenth  century. 

A   remarkable  characteristic  of  the   old  vellum    is   the 
tenacity   with    which    it    retains   the   ink    and    the   colors. 

which  together  seem  to  possess  the  imperishable  quali- 

iliar  to  tlie  vellum  alone.     Parchment  is  only  a 

or  less  finished  kind  of  vellum.    The  true  art  ol 

making  either  is  lost.     That  now  manufactured  blackens 

on  exposure  to  the  atmosphere,  developing  brown  spots 

mbling  stains,  so  that  th<-  possessor  of  nineteenth- 

xii 


ILLUMINATED  AND  PAINTED  MANUSCRIPTS 

century  books  printed  upon  vellum  or  parchment  will 
transmit  them  to  his  successor  with  these  deteriorations. 
Before  passing  to  the  work  of  the  calligrapher,  manu- 
scripts known  as  palimpsest  should  be  mentioned.  One 
great  source  of  the  destruction  of  the  early  books  was  the 
tendency  to  ignore  or  consider  as  worthless  that  which 
had  ceased  to  interest,  and  substitute  something  "newer" — 
a  custom  prevailing  also  in  our  time.  It  was  found  that 
the  writing  upon  vellum  could  be  rubbed  off,  and  other 
works  transcribed  upon  the  same  sheets.  The  oblitera- 
tion never  completely  effaced  the  more  ancient  charac- 
ters, which  in  many  instances  have  been  deciphered.  A 
work  of  Cicero  was  thus  discovered  beneath  a  religious 
homily.  There  is  an  instance  of  a  lapse  of  nine  hundred 
years  between  the  first  and  the  second  writing  upon  the 
same  leaves. 

THE   WRITING  AND    THE    MATERIALS    EMPLOYED    BY 
THE    CALLIGRAPHER 


fJ^'g^HE  art  of  calligraphy  forms  in  itself  a  study  sus- 
wt/5  rSw  ceptible  of  extensive  research.  Mr.  Astle,  who 
<$%§j%^j^  is  quoted  by  Dibdin  in  his  rather  rambling  dis- 
course upon  old  manuscripts,  wrote  an  oft-quoted  treatise 
upon  it,  published  in  a  folio  volume  in  1803. 

The  majority  of  the  manuscripts  extant  are,  as  before 
stated,  written  in  Greek  or  Latin,  and  largely  by  Greeks 
who  migrated  into  Italy  and  adjacent  countries,  carrying 


ILLUMINATED  AND  PAINTED  MANUSCRIPTS 

their  arts  and  artistic  traditions  with  them,  and  trans- 
mitting them  to  their  descendants.  The  earliest  letters 
employed  were  round,  bold  capitals,  known  as  Oncial,  or 
Uncial.  This  style  of  writing  prevailed  up  to  the  ninth 
century,  or  even  later,  when  minuscules,  or  small  letters, 

were  used — at  first  sparingly,   and  soon  increasingly, 

until  only  the  titles  and  headings  of  subdivisions  v. 
written  in  capitals.  Cursive  writing  followed,  formed 
by  the  partial  uniting  of  the  letters,  developing  main 
varieties.  The  Italian  manuscripts  were  written  in  Ro- 
man characters,  similar  in  form  to  those  now  ordinarily 
employed  in  printing. 

The  Emperor  Charlemagne,  in  the  latter  part  of  the 
eighth  century,  undertook  the  reformation  of  the  scribes, 
creating  a  more  intelligent  interest  in  books  and  liter- 
ature and  regulating  the  copying  and  reproduction 
of  manuscripts  by  laws.  In  789  we  find  the  monas- 
teries enjoined  to  the  preservation  of  correct  texts  "in 
order  that  requests  should  not  be  made  to  God  in  bad 
language 

In  the  centuries  immediately  following,  however,  de- 
generation again  set  in,  and  it  was  nut  until  the  elev- 
enth that  what  is  known  generally  as  black-letter,  Or  the 

Gothic  form,  w.is  introduced     Some  of  the  must  peri 

and   beautiful  of  this  species  of  writing   may  be  seen   in 

the  Bibles  <>f  the-  early  part  of  the  thirteenth  century  now 
exhibited     It  does  not  need  the  eye  of  a  printer  t<>  dis- 

\iv 


ILLUMINATED  AND  PALNTED  MANUSCRIPTS 

cern  its  wonderful  evenness,  nor  the  perfection  of  what 
he  would  call  the  "justification  "  of  the  pages.  From  an 
artistic  point  of  view  this  writing  has  not  been  surpassed. 
Upon  these  models  the  early  printers  based  the  forms  of 
their  type. 

The  older  calligraphers  and  copyists  are  mostly  un- 
known. Occasionally  signatures  of  some  of  them  are 
found  in  volumes,  or  records  have  preserved  from  entire 
oblivion  the  names  of  others  noted  in  their  generation. 
It  might  not  now  be  considered  in  good  taste  to  embalm 
the  hand  of  a  clever  artist,  but  about  1470  this  was  done 
with  that  of  the  scribe  Dom  Jacopo  Fiorentino ;  the 
brethren  "preserving  that  hand  of  his,  which  had  been 
so  excellently  employed,  in  worthy  keeping  to  his  endless 
memory."  Those  interested  in  the  biography  of  minia- 
turists, illuminators,  and  calligraphers  are  referred  to  Mr. 
Bradley's  dictionary,  in  three  volumes,  published  in  Lon- 
don, 1887- 1889.  It  is  the  first  approach  to  any  satis- 
factory systematic  record  of  these  artists. 

Of  the  materials  used  in  writing  little  is  positively 
known.  The  instruments  employed  by  scribes  were  the 
camel's-hair  brush,  or  its  equivalent,  fine  reeds  or  vege- 
table fiber,  and  later,  especially  after  the  twelfth  century, 
quill  pens.  The  absence  of  hair-lines  in  the  earlier 
writing  indicates  the  use  of  a  blunter  and  less  elastic 
instrument  than  the  sharpened  quill. 

The  black  ink  was  probably  burned  ivory  or  bone, 


ILLUMINA7ED  AND  PAINTED  MANUSCRl 

ind  with  great  care.     The  red,  employed  for  headings 

of  divisions  and  lubrication,  was  cinnabar  (red  sulphate 
of  mercury).    The  secret  of  the  durability  of  all  pigments 

employed  is  undoubtedly  in  their  purity,  and  in  patient 

and   thorough   grinding  by  hand,  as  well   as   in   the   ma- 
terials  mixed   with   them   to  insure   adherence   to   the 

vellum.      Further  particulars  of  the  colors  used  in  manu- 
scripts will  be  given  in  connection  with  the  subjei ' 
miniature   painting. 


INITIAL    I.l  I  I  ERS   AM)   ORNAMEN  l  - 

Pi.ihol-gh    calligraphy,   illuminating,   and   minia- 
'rf/i\*f>  tare  painting  have  been  classed  as  separate 

SiggjjgJ   arts,  sometimes  two  of  them,  and  occasionally 

the  whole  three,  were  practised  by  the  same  individual. 
This,  however,  appears  to  have  been  rarely  the  case  in 

the  more  important  manuscripts.      In  some  of  them  t! 

i-  evidently  collaboration  in  the  writing.  The  initial 
letters  also  are  frequently  by  one  hand,  the  borders  by 
another,  and  the  miniatures  the  work  of  several  artists. 

Up  to  the  ninth  century  initial  letters  were  compar- 
atively   Small,    hilt    at    IK)    period    Were    the    Looks    Without 

more  or  less  elaborate  embellishments. 
I       illuminal  designers  who,  though  creating 

ornament  [uisite  beauty  and  originality,  frequently 

allowed  imagination  to  had  them  into  curious  conceits. 

xvi 


ntOM  THE   IIIJ   CZ 


ILLUMINATED  AND  PAINTED  MANUSCRIPTS 

In  the  tenth  century  they  began  to  take  strange  lib- 
erties with  the  alphabet,  constructing  initials  of  ex- 
traordinary proportions,  covering  in  some  instances  a 
quarter  or  more  of  the  page.  Around  them,  up  and 
down  the  margins,  and  across  above  and  below  the 
text,  weird  ramifications  of  the  designs  were  spread  in 
fantastic  variety,  until  imagination  exhausted  itself  in 
creating  and  the  eye  in  following  them.  They  em- 
brace adaptations  of  every  phase  of  form  suggested  by 
animate  and  inanimate  nature ;  of  the  natural  and  the 
unnatural.  We  find  the  letters  constructed  of  fishes, 
animals,  and  birds,  twisted  into  fantastic  shapes,  or  com- 
bined with  the  human  figure. 

Conventional  styles  of  ornament  are  characteristic  of 
the  prevailing  conceptions  of  art  in  the  various  epochs. 
Very  beautiful  letters  are  found  in  Flemish  and  French 
manuscripts  of  the  thirteenth  century,  and  they  improved 
both  in  beauty  and  refinement  with  the  progress  of  the 
Renaissance.  When  historiated.  or  containing  miniatures 
within  the  designs,  the  effect  and  interest  are  enhanced. 

The  borders  to  the  pages,  introduced  more  extensively 
after  the  thirteenth  century,  are  often  not  only  wonder- 
fully elaborate,  but  one  hesitates  which  to  admire  most, 
their  delicacy,  or  the  brilliancy  of  the  effect  of  the  scroll- 
work and  flowers.  In  exquisite  taste  and  profusion. 
violets,  carnations,  daisies,  strawberries,  and  green  leaves, 
interspersed  with  small  human  figures,  birds,  animals, 
3  xvii 


ILLUMINATED  AND  PAINTED  MANUSCRIPTS 

and  fantastic  monstrosities,  comically  hideous,  and  height- 

I  with  burnished  gold,  are  harmoniously  combined. 

It  has  been  suggested  that  these  borders  were  intended 

originally  as  typical  of  the  gay  attractions  of  the  outer 

world,  and  the  hideous  monsters  rioting  in  them  its  dark 
or  retributive  side  —  a  mystical  warning  to  the  owner  of 
the  I  [orac  or  Miss.d. 

Gold  was  universally  and  very  skilfully  employed  in 

•  ration.  In  the  early  Byzantine  hooks  it  formed  the 
background  for  writing  and  illuminations;  the  gold  i 
dently  being  applied  in  the  leaf  and  then  burnished. 
Sometimes  it  was  upon  a  raised  ground,  giving  the  « 
of  having  been  embossed.  The  art  of  insuring  its  ad- 
herence to  the  vellum,  so  that  time  and  the  handling  of 
tlie-  leaves  fail  to  loosen  it,  is  now  somewhat  of  a  myster)  . 
I-  eems  to  have  been  applied  upon  a  preparation  resem- 
bling chalk  or  white  lead.  The  gold  used  in  the  paint- 
ings was  ground  extremely  fine,  and  the  powder  mixed 
with  white  (»i  eggs  or  some  species  of  gum  to  insure  its 
adherence  to  the  vellum.    Powdered  silverwas  treated  in 

the  same  manner.  Gold  was  also  sometimes  mingled 
with  the  colors  in  miniature  painting. 

i    .      best   blue  was  tiie  ultramarine,  so  called  because 

of  the  "blue  stone"  or  lapis  la/uli  from  beyond  the 

It  was  laboriously  ground,  as  were  the  other  colors. 

i  hard  stone  slabs.      [ndigO  (a  vegetable  production 

mil"  in  India)  was  also  used.     Cobalt  was  another  min- 

xviii 


ILLUMINATED  AND  PAINTED  MANUSCRIPTS 

eral  from  which  blue  was  made,  and  this  is  the  same 
material  with  which  the  "old  blue"  or  nankin  china  was 
painted.  The  red  was  principally  cinnabar  and  red  lead, 
or  a  mixture  of  both;  the  yellow,  the  Eastern  ocher; 
umber  was  employed  for  the  browns ;  the  white  was  fine 
white  lead,  and  the  green  verdigris  and  terra  verde,  a 
blue-green  ocher. 

The  beautiful  gray  tints  used  with  such  fine  effect  in 
draperies,  and  especially  in  the  painting  known  as  cam- 
aieu-gris,  were  made  with  the  white  lead  mixed  with  the 
black,  obtained,  as  already  explained,  by  burning  wood, 
ivory,  or  bone.  The  term  "camaieu"  is  applied  gener- 
ally to  all  paintings  in  tones  or  tints  of  one  color.  They 
were  executed  in  blue,  red,  and  in  gold  shaded  with  a 
mixture  of  black,  as  well  as  in  gray. 

Volumes  might  be  written  describing  the  various  styles 
of  illumination  prevailing  in  the  different  centuries,  and 
their  many  phases,  without  compassing  the  subject.  Their 
varieties  are  infinite,  or,  like  the  harmonies  or  discords  in 
music,  exhaustless. 

The  Byzantine  ornamentation  was  in  its  barbaric  gor- 
geousness  more  pronounced  in  style  than  that  of  any 
other  school,  excepting  the  early  Greek,  and  is  easily  dis- 
tinguished. The  amateur  will  have  little  difficulty,  after 
having  studied  the  pictorial  art  of  different  periods  and 
countries,  in  judging  whether  illuminations  are  Greek, 
Byzantine,  Italian,  Flemish,  French,  German,  English,  or 

xix 


ILLUMINATED  AND  PAINTED  MANUSCRIPTS 

Spanish;  or  in  determining  to  which  particular  school 
they  stand  related. 

Art:  migratory    in  the  middle   ages.     They 

carried  their  styles  and  methods  into  countries  other 
than  their  own,  and  combined  them  with  those  there 
prevailing.  This  is  as  clearly  demonstrated  in  miniature 
painting  as  in  other  arts. 


THE    MINIATURIST 

__  •     --in     crowning  charm   in   the  old  manuscripts  is, 

hD  after  all,  in  their  miniatures.      They  have  been 


•':^> 


1 1  leas  01 


the  means  of  conveying  to  us  clearer  and  better 
the  arts,  habits,  and  customs  of  the  middle  ages 
up  to  the  time  of,  and  through  the  best  period  of  the 
Renaissance  than  any  other  agency. 

The  only  paintings  surviving  from  the  earliest  Chris- 
tian centuries  are  mosaics  (if  they  may  be  so  classed), 
mural  decorations,  and  a  comparatively  lew  small  ex- 
amples, on  stone  or  some  almost  equally  imperishable 
material,  found  in  Roman  catacombs,  and  now  mostl) 
gathered   into   the  Vatican  museum.     After  these   the 

manuscript  books  are  the  only  artistic  records.      In  them 

we  may  see  delineated  the  gradual  supremacy  ol  Chris- 
tianity  over   paganism.     Beginning   with    the   Vatican 

Virgil    (containing   fifty    miniatures),    the   Terences,    and 
other  manuscripts  ahead)'   mentioned,   although  rude  in 

xx 


ILLUMINATED  AND  PAINTED  MANUSCRIPTS 

execution,  we  find  the  paintings  invested  with  a  certain 
dignity,  repose,  and  simplicity,  the  result  of  Greek  tra- 
dition and  inspiration.  All  the  Italian  manuscripts  show 
this  influence.  In  early  Christian  books  David  may  be 
found  pictured  in  the  form  of  Apollo,  and  the  represen- 
tations of  the  Deity  modeled  after  the  types  of  Jupiter. 
In  Byzantine  manuscripts  the  figures  of  the  Evangel- 
ists and  Saints  frequently  have  an  impressive  strength 
little  short  of  grandeur.  It  was  not  the  custom  in  the 
earlier  centuries  to  depict  the  subject  of  Christ's  death 
on  the  cross.  The  Christians  shrank  from  its  ignominy. 
That,  with  the  image-worship  which  appeared  in  later 
painting,  was  not  introduced  in  manuscripts  until  the 
seventh  century,   and  only  became  general  later  on. 

A  partial  artistic  reformation  began  in  the  eleventh 
century,  based  not  upon  tradition,  but  the  study  of  nature, 
aided  by  a  return  to  the  best  Greek  models.  Modern 
realism  took  the  place  of  the  old  symbolism,  although 
the  progress  toward  this  emancipation,  or  regeneration, 
was  slow.  The  real  dawn  of  the  Renaissance  was  not 
until  the  thirteenth  century,  when  it  appeared  almost 
simultaneously  in  Flanders  and  Italy  with  the  advent  of 
the  Van  Eycks  and  Memling  in  the  Low  Countries,  and 
of  Cimabue  and  Giotto  in  Italy.  The  arts,  however, 
did  not  make  equal  progress  in  the  various  countries  of 
Europe.  For  a  considerable  period  Flemish  art  domi- 
nated that  of  Germany  and  France.     In  the  latter  entire 


ILLUMINATED  AND  PAINTED  MANUSCRIPTS 

lorn  from  tin-  old   Roman  and  Byzantine  ideas  in 
miniature  painting  was  not  effected  until  the  fourteenth 

ui)'.     The  same  is  tr  tin,  while  in  England 

omparatively  little  practised,  and  in  an  in- 
ferior manner.     In  fact,  English  art  in  manuscripts  alv. 

lacks  -race  and    finish   when  compared  with  that  of  the 
Continent. 

of  the  Van  Eycks,  Memling,  and  Giotto, 

and  of  the  schools  they  established,  represented  by  Van 

W'eyde.  Hans  Memling,  Fra  Angelico,  Andrea  Man- 

.  '..  Botticelli,  Perugino,  and  others  whose  names  are 

familiar    to    all    art-lovers,    extended    into    the   sixteenth 
century.      Many   of  these    artists    painted    miniatures    in 

hoi/ 

These  small  pictures  are  frequently  classed  as  an  in- 
ferior department  of  art,  and  held  in  too  slight  an  i 
mation,  as  compared  with  paintings  on  a  large  scale. 
ring  greater  ana.  This  is  a  mistake;  for  to  paint 
miniatures  well  requires  a  skill  and  talent  equal  to  that 
demanded  for  most  large  pictures,  Possibly  their  com- 
parative inaccessibility,  in  Looks,  accounts  for  their  beau- 
and  worth  being  less  familiar,  and  meeting  with 
more  tardy  recognition  than  their  importance  warrants. 

\  complete  history  of  pictorial  art  in  civilized  Europe 
must  embrace  that  found  in  manuscripts.  Any  one  de- 
siring proof  of  this,  as  well  as  .if  the  capabilities  ol  minia- 
ture pain  tin-,  i  i  asked  to  inspect  the  Lectionar)  of  Giulio 

xxii 


ILLUMINATED   AND  PAINTED  MANUSCRIPTS 

Clovio  in  the  Lenox  Library.  On  its  pages  will  be  found 
a  wealth  of  conception,  coloring,  and  artistic  treatment, 
recalling  the  age  of  Michelangelo,  Titian,  and  Raphael, 
of  which  Clovio  was  an  ornament,  and  whose  name  is 
worthy  of  mention  in  connection  with  theirs. 

An  advantage  possessed  by  miniatures  upon  vellum 
is  their  superior  chance  of  longevity.  As  already  shown, 
there  exist  painted  vellum  books  about  fifteen  hundred 
years  old,  and  unless  overtaken  by  violent  destruction 
the  illuminations  and  miniatures  by  Clovio,  and  those  in 
the  present  exhibition,  will  retain  their  freshness  and 
beauty  long  after  the  pictures  by  Raphael  and  Titian 
have  crumbled  away. 

At  the  time  of  Louis  IX.  of  France  (in  the  early  part 
of  the  thirteenth  century)  some  beautiful  manuscript 
books  were  made,  and  notably  among  them  is  the  famous 
Psalter  of  St.  Louis,  preserved  at  Paris,  and  also  the 
Roman  de  Saint-Greal,  both  containing  miniatures  re- 
markable for  originality  of  treatment,  brilliancy,  and 
delicacy.  At  this  period  the  decorations  and  paintings 
in  the  Bibles,  missals,  and  religious  books  generally, 
are  finer  than  those  illustrating  profane  literature,  or  in 
the  romances  of  chivalry,  which  had  begun  to  occupy  a 
conspicuous  place  among  the  writings  of  the  time. 

In  the  fourteenth  century  not  only  the  religious  books, 
but  the  classics,  such  as  Ovid,  Horace,  Virgil,  and  Cicero, 
were  rewritten  with  increased  richness  and  splendor  of 

xxiii 


ILLUMINATED  AXD  PAINTED  MANUSCRIPTS 

adornment.  Words  can  do  very  little,  however,  toward 
portraying  the  fascinating-  beauties  found  in  the  manu- 
scripts produced  in  Furope  during  the  fifteenth  and  six- 
teenth centuries.  Kings,  nobles,  and  prelates  had  attached 
to  their  courts,  and  among  their  retainers,  scribes  and 
miniaturists,  by  whom  they  caused  sumptuous  volumes 
to  be  made.  Charles  Y.  of  France  ;  his  father,  Louis  of 
Orleans;  the  Dukes  of  Burgundy,  Philippe  le  Hardi, 
Philippe  le  Hon;  and  the  Due  de  Herri,  are  anion-  those 
whose  passion  for  hooks  led  to  the  creation  of  the  re- 
markable collections  of  manuscripts  of  chivalry,  romance, 
chronicles,  and  devotion,  forming-  the  famous  Hurgundian 
Library,  once  numbering  several  thousand  volumes,  many 
of  which  are  still  preserved  in  Brussels. 

When  notable  books  were  completed,  whether  sacred 
or  profane,  their  presentation  was  signalized  by  religious 
ceremony;  mass  was  said  in  the  cathedrals,  and  pageants 
attended  their  installation  in  the  library.  The  blemish 
and  French  courts  in  those  times  moved  from  place  to 
place  in  Flanders  and  France.  Brussels  was  the  center 
ot  .t  flourishing  school  of  miniaturists,  as  were  Bruges  and 
others  of  the  large  blemish  cities  in  the  fifteenth  century. 
Indeed,  Paris  was  at  this  period  comparatively  small.  It 
the  Emperor  Charles  V.  of  Germany  who  once  twitted 

the  ambitious  Francois  I.  in  the  Baying,  repeated  in  ('.and 
(or  Ghent)  to  this  day,  "Je  mettrai  ton  Paris  dans  mon 
gant"      The   Emperor  was  an  amateur  of  books,  and  in 

X  x  i  v 


iMatjcqtmirtnramQtitrtmiQiargUtnft 
""brgticnrmftr 

ndmtmmu 

gttfiftifitfpn 

I  mor  gtffumnr 
torn  ^dicrdia 
?'  oflrrtmflm* 
mwMMP  trmwrfwoi 
iir  bmicatrtrqummoabubatnuHnKr 
oimm  aUf  tnmnOrOmflttm  mtnumtt 
iiaxm  mtrmt  mi  qtiawcmoa  torn 
ttoitm  Dtr  tmttttr  ranur  trum*  tiotr 
atttaamidikm  onttokm  mirotmit 
mmnai  tntrnvtivctotttiftiiu  mtif 
to  flan/  op  torn  mtrrtncfictairm  qwe 
trot  tmrtmrrtftiihr  fcepemrn  mm 
timrti  ^irDtiffnrou&rtfiimi^fm4 
fra  mi  fit  otimur  oir ot  oimm  Dtr moe 
mi  oi  gra  mti  paw  mrnrn  tuqrrrt  mar 


FROM    THE    UOR/E 
No.    13 


ILLUMINATED  AND  PAINTED  MANUSCRIPTS 

one  of  the  intervals  of  his  warfare  with  Francois  sent  him 
a  present  of  fine  volumes  he  had  caused  to  be  elaborately 
bound  at  Venice. 

There  is  in  the  library  of  St.  Mark's  in  that  city  a  very 
fine  breviary,  once  belonging  to  Cardinal  Grimani,  with 
miniatures  of  extraordinary  beauty,  many  of  them  said 
to  be  by  Hans  Memling.  The  Cardinal  purchased  the 
manuscript  of  a  dealer,  and  while  the  association  of  his 
name  with  it  causes  him  to  be  remembered  through  cen- 
turies, a  strange  irony  of  fate  leaves  that  of  the  maker 
of  the  book  buried  in  the  oblivion  of  uncertainty. 

Another  remarkable  manuscript,  and  perhaps  the  most 
noteworthy  of  the  fifteenth  century,  is  the  "Book  of 
Hours"  of  Anne  de  Bretagne,  wife  of  Louis  XII.  of 
France,  the  work  of  Touranian  artists.  This  city  was  the 
center  of  a  school  of  art  of  which  Jean  Foucquet,  living 
from  about  141 5  to  1485,  became  the  most  brilliant  figure. 
He  went  to  Rome  to  study,  returning  to  Tours  where 
he  practised  his  art.  He  and  his  followers  during  more 
than  a  century  enriched  manuscripts  with  ornaments  and 
miniatures  of  the  choicest  description.  Unfortunately 
most  of  them  failed  to  sign  their  work,  so  that  the  author- 
ship even  of  the  superb  pages  in  the  "Hours"  of  Anne  de 
Bretagne  is  a  matter  of  conjecture.  Although  Foucquet 
has  been  credited  with  having  painted  them,  they  are 
now  considered  to  be  in  part  the  work  of  an  artist  named 
Bourdichon,  court  painter  to  Louis  XI.,  Charles  VIII., 

4  XXV 


ILLUMINATED  AND   PAINTED   MA M'SCRIPTS 

and  Louis  XII.  Examining  this  manuscript  as  repro- 
duced through  the  modern  process  of  chromolithography, 
although  failing  as  it  do<-s  to  render  the  vivid  brilliancy 
<>t'  the  original,  it  would  appear  that  the  extreme  limits  of 
the  art  had  been  reached.     Even  Foucquet,  however 

i  in  his  celebrated  volume  of  Josephus,  and  the  Livy 
.it  Paris,  was  destined  to  l>e  excelled  by  Giulio  Clovio, 
who,  eclipsing  all  his  predecessors,  left  no  worth)-  suc- 

>r.  hie  was  born  in  1498,  and  lived  until  1578,  work- 
ing in  Rome  and  Other  Italian  cities.  He  had  Giulio 
Romano  for  a  friend  and  adviser,  if  not  as  master.      Both 

cquet  and  Clovio  had  many  scholars  and  assistants 
who  perpetuated  their  styles  of  painting. 

The  art  of  the  miniaturist  in  manuscripts  reached  a 
high  stage  of  perfection  in  Florence.  Attavante,  born 
there  in  1455,  and  living  until  1520,  executed  remarkable 
works.  Both  he  and  Geervaest  David,  record  of  whom 
is  made  by  Vasari,  and  who  studied  at  Rome,  and  lived  at 

Bruges,  in  the  latter  part  of  the  fifteenth  and  the  begin- 
ning of  the  sixteenth  century,  painted  hooks  with  orna- 
and  miniatures  of  great  merit. 
The  name  of  another  talented  artist  should  be  recorded: 
that  of  Geoffrey  Tory,  a  Frenchman,  who  combined  with 
miniature  painting  the  occupations  of  designer,  engraver, 
author,  and  printer.  With  his  death,  according  i"  Bernard 

in  [533,  may  l»<-  said  to  Virtually  close  the  history  ^(  the 
written  and  painted  hook. 

X  x  v  i 


ILLUMINATED  AND  PAINTED  MANUSCRIPTS 

An  account  of  manuscript  painters  and  writers,  however 
brief,  would  probably  be  considered  incomplete  without 
some  allusion  to  Nicolas  Jarry,  a  Parisian,  born  early  in 
the  seventeenth  century.  He  was  a  clever  calligrapher, 
and  pleasing  miniatures  are  sometimes  found  in  volumes 
done  by  him.  His  transcription  of  the  celebrated  "Guir- 
lande  de  Julie,"  a  volume  composed  of  verses  by  various 
admirers  of  the  beautiful  Mademoiselle  de  Rambouillet, 
and  ornamented  with  floral  ornaments  by  the  artist  Rob- 
ert, has  principally  served  to  bring  his  name  and  work 
into  repute. 

Manuscripts,  to  be  adequately  appreciated  and  enjoyed, 
require  careful  and  patient  study.  They  appeal  preemi- 
nently to  the  refined  and  cultivated  taste.  The  choicest 
of  them  are  the  outcome  of  religious  fervor,  which  de- 
manded the  best  that  artistic  inspiration  could  furnish. 
In  the  Breviaries,  Psalters,  Bibles,  and  above  all  in  the 
Horae,  or  Books  of  Hours,  are  found  the  majority  of  the 
choicest  miniatures  and  illuminations.  The  Horae  usually 
commence  with  a  calendar,  very  frequently  adorned  with 
paintings  appropriate  to  each  month  of  the  year,  and  the 
signs  of  the  Zodiac.  The  four  Evangelists  follow  in  their 
appointed  places ;  after  them  come  events  in  the  life 
of  Christ,  the  Passion  and  Crucifixion;  succeeded  by 
scenes  taken  from  the  Old  Testament;  finally  concluding 
with  representations  of  the  Saints  and  Martyrs.  The 
pictures  of  the  Virgin   are   usually  executed    with    the 


ILLUMINATED  AND   PAINTED  MANUSCRIPTS 

utmost  skill  of  the  artists,  and  kneeling  before  her  is  often 
placed  the  portrait  of  the  person  for  whom  the  volume 
u  as  made. 

In  a  poem  by   Eustache  Dechamps,  of  the   tin 
urles  V.  of  France,  the  requirements  of  a  fine  lad)  as 

to  her  ••  Book  of  Hours"  arc  quaintly  rhymed: 
••  Heures  me  fault  de  Notre  Dame. 

Si  comme  il  appartient  a  fame 
Yenne  de  noble  pat  I 
Qui  sorent  de  soutil  onvnige, 
1  >'or  et  d'azur,  riches  et  cointe, 

Bien  ordenneea  et  bien  pointes, 

De  fin  drap  d'or  tres-bien  couvertes: 
Et  quand  elles  seront  ouverte 
Deux  fermaulx  d'or  qui  fermeront." 

(Hours  of  our  Lady  should  be  mine, 
Fitting  for  a  noble  dame 

lofty  lineage  and  name  ; 
Wrot  most  cunningly  and  quaint 
In  kf<.ld  *nd  richest  azure  paint; 
Rare  covering  of  cloth  of  gold 
Full  daintily  it  shall  enfold  ; 
I  »r  open  to  the  view,  exposed 
Two  golden  clasps  to  keep  it  closed.) 

The  Illuminated  printed  books  competed  with  and  suc- 

led  the  manuscripts.     Blank  spaces  were  usuall)  left 

in  them  at  the  commencement  of  chapters  or  divisions, 

which  the  illuminator  idled  with  colored  capitals  more  or 

xxviii 


ILLUMINATED  AND  PAINTED  MANUSCRIPTS 

less  ornamented.  Borders  were  also  added,  and  occasion- 
ally whole  pages  occupied  by  miniatures,  which  were  also 
interspersed  irregularly  in  the  text.  Examples  of  these 
in  volumes  printed  by  Schaeffer,  Jensen,  Aldus,  de  Spira, 
Hardouin,  Simon  Vostre,  Annabat,  and  others  are  in- 
cluded in  the  present  exhibition.  They  are  upon  vellum 
and  paper. 

A  few  Persian  and  Arabic  manuscripts  are  also  shown. 
None  of  them  date  further  back  than  the  sixteenth  cen- 
tury. They  are  not  common,  and  when  richly  ornamented, 
and  containing  miniatures,  are  exceedingly  rare.  There 
are  few  fine  examples  in  this  country,  nor  are  they 
numerous  in  European  libraries.  They  are  remarkable 
for  brilliancy  of  coloring,  neatness,  elaboration  of  design, 
and  treatment,  and  are  well  worthy  of  study,  presenting 
much  that  is  characteristic  and  attractive  in  Persian  art. 
They  are  written  upon  an  extremely  tough  and  imperish- 
able paper,  made  of  vegetable  fiber,  in  characters  formed 
with  the  camel's-hair  pencil. 


THE    PATRON   AND    COLLECTOR   OF   MANUSCRIPTS 

^^MM  FEW  words  as  to  some  of  the  patrons  of  the 
■T/; /Q§  artists  and  of  noted  amateurs  and  collectors  of 
SSIM81  manuscript  books  at  the  time  of  the  Renais- 
sance may  not  be  out  of  place.  The  Dues  de  Bourgogne 
have   been    mentioned    in    this    connection.     There  are 

xxix 


ILLUMINATED  AND  PAINTED  MANUSCRIPTS 

others  who  should  not  be  passed  unnoticed,  for  without 
their  enlightened  encouragement  the  splendid  books  of 
the  Renaissance  could  not  have  existed 

A  name  which  has  become  historical,  mainly  owing  to 

OCiation  with  art,  literature,  and  books,  is  that  of 
Cardinal  d'Amboise.  Horn  in  1460,  It-  became  Prime 
Minister  to  Louis  XII.  in    1408,  and   afterward  received 

animal's  hat  from  Julius  II.  A  biographer  calls 
him  "the  Maecenas  of  France."    lb-  aided,  perhaps  more 

than  any  of  his  contemporaries,  to  revive  and  stimulate 
in  that  country  the  taste  for  the  masterpieces  of  calli- 
graphy and  miniature.  In  the  palatial  Chateau -Gaillon, 
built  for  him,  he  assembled  a  superb  and  costly  collection 
of  manuscripts,  many  of  which  are  extant  and  now  en- 
rich the  National  Library  at  Paris,  comprising  what  is 
known  as  the  "Amboisian  Library." 

|<an  le  Hon  (John  II.  of  France),  who  became  king 
in  [350,  will  be  a  familiar  name  to  any  one  who  has 
visited    the-    Paris    National    Library.       lb-    was    tin-    first 

of  the  French  monarchs  to  bequeath  books  t(1  the  na- 
tion, and  it  is  principally  in  this  connection  he  is  now 
remembered 

In  the  fifteenth  century  there  existed  at   Budapest  a 

famous  library    formed    by    Matthias    Corvinus,    King   ol 

Hungary.     lb-  employed  learned  agents  to  buy  bocks, 

and  scribes  and  miniaturist,  to  create  them.     A  great 

deal    has    been    written    about    this    library,    the    Stormy 

XXX 


ILLUMINATED  AND  PALNTED  MANUSCRIPTS 

career  of  its  owner,  and  its  fate.  Out  of  many  volumes 
(stated  by  some  authorities  at  50,000)  about  150  only 
are  now  identified,  being  mainly  in  public  collections. 
Its  dispersion  began  at  Corvinus's  death  in  1490,  and  in 
1526  the  Turks  destroyed  the  remainder  with  the  thor- 
oughness characteristic  of  their  exploits  in  this  line.  As 
vellum  books  were  not  found  adapted  for  building  fires 
and  lighting  pipes,  they  used  the  printed  paper  vol- 
umes for  this  purpose,  and  simply  cut  out  the  miniatures 
from  the  former,  attracted,  like  children,  by  their  brilliant 
colors. 

In  no  city  in  Europe  did  the  arts  meet  with  more  en- 
thusiastic encouragement  and  support  than  in  Florence 
during- the  fifteenth  and  sixteenth  centuries;  and  no  fam- 
ily  ever  contributed  more  toward  fostering  the  taste  for 
literature  than  that  of  the  Florentine  Medici.  Cosmo 
de  Medici,  his  grandson  Lorenzo  the  Magnificent,  and 
Leo  X.  the  son  of  the  latter,  surrounded  themselves  with 
clever  literary  men  and  artists,  and  filled  their  palaces 
with  treasures  of  ancient  art  which  served  as  models  in 
the  decoration  of  the  superb  manuscripts  of  the  time. 
The  Laurentian  Library  was  founded  by  them,  and  con- 
tains a  large  proportion  of  the  literary  collections  of  the 
Medici  family. 

Francois  I.,  King  of  France  (1494-1567)  was  a  liberal 
patron  of  the  miniaturist  and  scribe.  His  relations  with 
Italy  were  principally  of  a  warlike  nature,  but  the  most 

xxxi 


ILLUMINATED  AND   PAINTED   MANUSCRIPTS 

valuable  of  his  conquests  in  that  country  were  the  Italian 

artists  he  induced  to  come  to  Paris,  and  who  served  to 

further  the  growth  of  the  French  Renaissance.     In  the 

nch  National  Library  an-  about  fifty-five  manuscripts 

ited  l>v  the  king's  orders. 

|can  Grolier  was  king's  counselor,  and  one  ot  the  trea- 
surers of  France,  under  Francois  I.  In  a  bibliograph- 
ical record  of  349  books  now  existing,  which  formed  part 
of  his  library,  we  find  eight  manuscripts  upon  vellum. 

It  is  an  interesting  fact  that  these  patrons  and  col- 
lectors of  literary  treasures  lived  in  turbulent  times,  and 
all  were  active  and  aggressive  men,  engaged  in  public 
affa::  nsions  and  war.     It  will  be  also  observed 

that  the  collection  and  preservation  of  manuscripts  was 
the  work  of  individuals,  and  not  of  governments,  com- 
munities, <,r  states,  which,  as  a  rule,  only  provided  de- 
positories lor  wdiat  an  enlightened  taste  and  patronage 
created  and  gather* 

There  are  few  objects  more  attractive,  and  none  more 

satisfactory,  than  a  beautiful   book;    but  when  to   artistic 

beauty  there  is  allied  the  flavor  of  antiquity,  even  if  this 

be  no  greater  than  four  or  five  hundred  years,  the  charm 
is  irresistible.  The  accounts  in  history  of  the  destruction 
of  books  form  the  most  painful  pages  of  the  records  of 

the  past     We  know  that  men  must  die.  but  we  like  their 

good  works  to  live.  In  the  present  age  when  vandalism 
is  regarded  in  the  light  of  a  crime,  safeguards  environ 

x  x  x  i  i 


-^&*w  ,v- mim  l.it-ia  hum 


kZ^SJfe  it  v  >  mciun  an 


iSSsdviiV'  in   UmuIi   in  mean 


FROM    THE    LIVRE    D  HEURES 

No.    38 


ILLUMINATED  AND  PAINTED  MANUSCRIPTS 

libraries  and  depositories  of  art,  and  the  plea  of  military 
necessity  is  not  considered  an  excuse  for  such  destruc- 
tion as  overtook  the  ancient  library  at  Alexandria  in 
the  year  47  b.  c,  when  700,000  manuscripts  are  said  to 
have  been  destroyed.  Christians  do  not  now,  as  did  the 
Emperor  Leon  in  the  year  703,  seek  to  destroy  books 
in  order  to  eradicate  what  they  consider  recorded  errors. 
Determined  to  abolish  the  worship  of  images  (a  vexed 
subject  in  early  ages),  this  Emperor  Leon  deliberately  set 
fire  to  the  library  of  Constantinople,  containing  36,000 
manuscripts,  and  the  twelve  custodians  and  professors 
perished  with  them  rather  than  forsake  their  books,  or 
yield  to  their  mutilation. 

The  number  of  fine  manuscripts  in  existence  in  Europe 
is  still  large,  although  very  small  in  this  country.  That 
many  more  will  be  brought  here  is  probable,  although 
the  most  noted  that  have  survived  to  the  present  cen- 
tury are  apparently  permanently  placed  in  the  great  Euro- 
pean libraries  and  museums. 

Keats  before  his  death  said:  "I  have  truly  loved  the 
spirit  of  beauty  in  all  things."  It  is  this  spirit  leads  us  to 
value  and  preserve  these  fine  old  books.  Art  appeals  to 
cultivated  tastes  in  many  other  forms,  but  never  with 
a  greater  charm  than  in  these  records  of  the  past,  the 
work  of  the  scribe,  the  illuminator,  and  the  miniaturist. 


CATALOGUE. 


EUROPEAN    MANUSCRIPTS. 


I    PSALTERIUM.     Manuscript  on  Vellum.    4°.    XIII 
Century. 

English  manuscript,  containing  sixteen  small  miniatures  in 
medallions,  and  nine  large  historiated  initial  letters  with  raised 
backgrounds  of  burnished  gold. 

Bound  by  Riviere,  in  red  morocco  gilt,  and  inlaid  with  black 
morocco. 

Size,  5f  x  8  inches. 


2  BIBLIA    SACRA.     Manuscript   on  Vellum.     Small 
Folio.     XIII  Century. 

This  volume  is  very  beautifully  written  (two  columns  to  each 
page)  on  the  purest  and  finest  of  vellum,  and  probably  shortly 
after  the  year  1200.  It  contains  the  whole  of  the  Old  and  New 
Testaments  in  Latin,  after  the  text  of  Saint  Jerome.  There  are 
seventy-six  small  miniatures  in  the  initial  letters,  with  figures 
in  French  costumes  of  the  time  painted  in  gold  and  colors. 

I 


XLOGUE 

At   the  end   is  a  dictionary  of  Hebrew  nam 
This  Bible  is  stated   to  have  been  in  th  ion  of  Saint 

.  King  of  France. 

uld  be  difficult  to  fmd  a  more  perfect  example  «f  a  book 
of  its  kind. 

B  >und  in  old  French  red  morocco,  :^ilt  edg 
.  7  x  10}  inches. 


3  BIBLIA  SACRA  LATINA  CUM  PROLOGIS 
SANCT1  HIERONYMI.  Manuscript  on  Vellum. 
4  .     XI 11  Century. 

An  Italian  manuscript  on  extremely  fine  vellum.  Written  at 
Cremona,  about  I  -75.  by  Viviani  Sani.  A  beautiful  and  re- 
markable volume,  both  as  to  execution  and  condition.  There 
are  fifty  historiated  initials  and  fifty-three  other  capitals,  all 
illuminated  in  gold  and  colors. 

Bound  in  flexible  rough  calfskin,  edges  gilt  and  gauffered, 
i  nches. 


\  LORRIS  (C.)KT  JKHAX  I)K  MEUNG.  Li  Roman 
de  la  Rose.  French  Manuscript  on  Vellum.  Small 
Folio.     XIV  Cen  i  uky. 

Upon  one  hundred  and  eighty  leaves,  in  two  columns,  with 
two  large  and  thirty-One  small  miniature-.  Written  and  illu- 
minated for   King  Charl< 

2 


W^W>. 


Ol  CH  kSCOl 

T\I  I    IN  R  IMF 
STARSF  II 

ON  DIG  N  VTRJ 
VA   J  I    COR  I 
ITS  S  PR]  M  3   GiOVF 

NIL  FUROR  I 
QVATSTDFR-A  ,1 

[RHVOM  D  A  Q\ ■  E  L  C  H  I  S 
PFLVARIO  5TI1 

N  G  O    I    R  A  G      !     \ 
F  R*A    L  E  Y\NE  .ST  I 

II  VATS   DOl  OR  E 
OVI    S  LA  CHI  PEH  PRO 
INTENPA  AMORF 
STFRO  TROVAR  P1ETA  > 
CHI    PFRDONO 
\[\  BFN  VIGGIO  HOKLSI  CO 
VtF  Ai 
FAVOIA  FVI  GRATSJ   I 
ONDE 50VENIF 
DIUIMFDESMO  MFCOlvi; 

VFRGOGNO 

F  DEI  MIO  VAN"GGIAR- 

VFRGOGMA    Fl  FRVCIO 

F 1  P FNT 1 RS  MI  C ONO SC 

c  HI  VR  VM1  N 

:  h  f-  qyA  & 

MONDO    I   P  M  \  L  SOGN< 


FROM    THE    HORATII    CARMINA 
No.  37 


CATALOGUE 

Binding  orange  morocco  inlaid  with  red,  green  and  black 
morocco,  doubled  with  red  morocco,  decorated  with  fleurs-de- 
lis,  by  Lortic. 

Size,  8  x  1 1  j  inches. 


5   PSEAUTIER  GOTHIQUE.     Manuscript  on  Vellum. 
Large  40.     XV  Century. 

French  manuscript,  with  borders  composed  of  scroll-work  and 
flowers  to  each  page,  and  thirty-one  miniatures — thirteen  large 
and  eighteen  small. 

Bound  in  red  velvet  with  silver  clasps,  edges  painted  and 
gilded. 

Size,  7  x  9f  inches. 


6  GRINGORE.     Les  Abus  du  Monde.    Manuscript  on 
Vellum.     8°.     XV  Century. 

French,  written  upon  sixty-eight  leaves  of  vellum,  with  four- 
teen full-page  miniatures. 

The  first  printed  edition  of  "  Les  Abus  du  Monde "  is  by 
Pierre  le  Dru,  1509,  and  contains  all  the  miniatures  reproduced 
in  woodcuts. 

Presented  by  the  author  to  the  Due  d'Estourteville.  This 
MS.  passed  to  Marie  de  Lorraine,  wife  of  James  V,  King  of 
Scotland,  and  afterward  to  his  daughter  Mary  Stuart. 

It  subsequently  formed  part  of  the  libraries  of  Chas.  Nodier, 
Yemeniz,  and  Bancel,  and  the  latter  had  it  rebound. 

3 


Binding  blue  morocco,  Janseniste,  double  with  white  vellum 
utmenta  of  alternate  thistles  and  marguerfr 
Trautz-Bauzonnet 


LIVRE    D'HEURES.     Mam  -  rifi    on  Vellum.     4  . 

Written  in  the  Italian  Style,  with  six  pages  of  miniatures  and 
number  of  tine   initial  letters  painted  upon  bur- 
nished gold  background. 

old  French  red  morocco,  gilt  edges,  by  Derome. 
;  J  inches. 


LRL    ZENO.      "IN     LIBROS    Mil-      MORUM 
RERUM    GESTARUM    CAROL1    ZENI."      Manu- 

l  Kil'i    <>\    VeLH  M.       FO]  I".       XV    (    ENTl  RY. 

Latin;    three  hundred  and  eighty- 1  WO  pages,  in  Roman  script. 

An  illuminated  and  historiated  border  ami  capital  on  the  first 

tnd    nine   other    illuminated    capitals.        Tope    PhlS    N.   tO 

whom  this  volume  was  presented,  was  born  in  1405  and  died  in 

!  in  old  red  m  Id  tooling. 

xii  im  / 


CATALOGUE 

9  LIVII  HISTORIARUM  DECAS  PRIMA.  Manu- 
script on  Vellum,  in  Roman  Script.  Folio.  XV 
Century. 

Illuminated  border  to  first  page,  in  which  are  introduced  the 
Caraccioli  arms,  and  an  initial  F  historiated  with  a  view  of 
Rome.     Seven  initial  letters  illuminated  in  gold  and  colors. 

This  manuscript  was  brought  from  Palermo  by  Dr.  Askew,  at 
whose  sale  it  was  purchased  by  Sir  W.  Burrell.  Purchased  by 
Mr.  Wodhull  in  1798. 

Bound  in  old  russia,  borders  of  gold. 

Size,  1  On 


10  HOR^   (AVEC   CHANT    NOTE).      Manuscript  on 
Vellum.     Small  40.     XV  Century. 

Written  on  three  hundred  and  sixty  leaves  of  fine  vellum, 
and  ornamented  with  a  large  number  of  illuminated  initial  let- 
ters, fifteen  of  which  contain  miniatures,  the  most  of  them  upon  a 
checkered  or  fleur-de-lis  background  in  gold  and  colors. 

Bound  in  red  morocco,  silver  clasps. 

Size,  5  x  6f  itiches. 


I  I    HORy^E.    Manuscript  on  Vellum.    40.    XV  Century. 

Flemish  ;  containing  thirteen  miniatures. 
In  the  original  stamped  morocco  binding. 
Size,  5f  x  8  inches. 

5 


12  PSALTERIUM,    CANTICA,    IIVMM.    SYMBOLA 

\  III. WASH  ET  Al'<  )S1  «  \L(  »k(  M.  ETC,    Man- 
Vellum.     Lai    i    i  .     XV  Ci 

anish  manuscript  of  tine  proportions  and  execution.  It 
contains  twelve  miniatures  with  elaborate  borders,  and  a  number 
of  large  initial  letti 

md  in  old  ci  imson  velvet 

:  JliS. 


II<  >k.K  BEA T.K  MAkl.K  VIRGINIS.     M  \m  -  km  i 

VBI  !  IM.        .}     .         XV     Ci  \  I'lTV. 

This  manuscript,  which  i  tional  beauty  and  richness, 

•  :d,  about    14S5,  for   Corneille   Crosinck,    Lieutenant 

Holland,  and  his  second  wife,  Hildegarde  Van  Alke- 

made.      Their  arm-  are  found   emblazoned  twice  on   one  of  the 

borders,  and  their  initials  are  painted  on  others.   Thcbord- 

litial  htters,  which  are  very  numerous,  are  of  great  variety 
and  elaboration.  There  are  fourteen  large  miniatures,  measuring 
3^  x  5  inches  exclusive  of  their  borders ;  also  many  smaller  ones. 
l  paintings,  evidently  by  several  different  Flemish  artists, 

are  of  the  school  of  the  Van  I'.ycks. 

Bound  in  crimson  velvet,  gilt  edges;  with  silver  clasps  bearing 

the  initials  (".   1 1,  in  relief. 

.vl  inches. 


*;.  £»&£■•  »£:•• 


t(l 


CATALOGUE 

14  PRECES    PI^:.     Manuscript  on  Vellum.     8°.     XV 
Century. 

The  text  written  in  Roman  letters. 

A  French  manuscript,  with  sixteen  large  miniatures  and  forty- 
four  small.  The  calendar  is  of  unusual  richness,  and  the  borders 
of  flowers,  birds  and  insects  are  very  delicately  painted  upon 
gold  ground. 

Bound  in  red  morocco,  doubled  with  green,  tooled  with  gold, 
gilt  edges. 

Size,  4-g  x  i\  inches. 


I  5   HOR^E.    Manuscript  on  Vellum.    40.    XV  Century. 

Flemish  ;  with  borders  to  each  page,  and  sixty-four  minia- 
tures, interesting  for  their  rude  quaintness  of  expression  and 
execution. 

Bound  in  brown  morocco,  gilt  edges,  by  F.  Bedford. 

Size,  5x7^  inches. 


16  OFFICES     OF     THE    VIRGIN.      Manuscript     on 
Vellum.     40.     XV  Century. 

By  a  French  scribe;    with    four   miniatures,  and    burnished 
gold  borders  to  each  page. 

Bound  in  old  red  morocco,  tooled  sides,  gilt  edges,  by  Du 
Seuil. 

Size,  Ssx72  inches. 

6  7 


ALOGUE 

17  OFFICIUM  BEATiE  MARI.1-:  V1RGINIS  SECUN- 
DUM a  WSUETUDINEM  A\<  .1.1.1:.    M 

Vl  I  1.1M.      4   .      XV    (    . 

From  the  prayers  in  this  book  being  addressed  to  English 
Sail  I  as  from  the  costumes  of  many  of  the  figures,  and 

tile    general    character    of   the    art  in   the   miniatures,    it   would 
appear  •  lish.     Sir  Francis  Paigrave,  however,  judged 

it  to  be   French,  ami   Sir   F.  Madden  and   Mr.  Shaw  oms  I 
it    Flemish.       It   was    possibly    executed    by   foreign    artists    in 
England.      The  ornamentation  throughout    is    extremely   rich. 
There  are  twenty-three  large  miniatures  and  twenty  smaller. 

Bound  in  brown  morocco,  doubled  with  red  morocco,  mosaics 
in  colors  on  the  sides,  gilt  edges,  by  Lortic. 
nckis. 


l8   lloK.H    UEATM   VIRGINIS.     French  :\L\m  script 
i  m.    4  .    XV  Century. 

Borders,  heightened  with  gold,  to  each  page,  and  fourteen 
large  miniatures.  <  )n  the  blank  leaves  at  beginning  ami  end  have 
been  painted  coats  of  arms  within  green  and  blur  borders. 
1  in  old  French  red  morocco,  paneled  sides,  gilt  l 

Size,  6\       84  inches. 


CATALOGUE 

19  FLEMISH  BOOK  OF  HOURS.  Manuscript  on 
the  Finest  Abortive  Vellum.     40.     XV  Century. 

The  borders  of  each  page  are  of  very  delicate  scroll-work, 
interspersed  with  flowers  and  small  fruits.  The  large  miniatures 
(twenty-nine  in  all)  are  examples  of  Flemish  art  at  its  best  period. 
There  are  several  hundred  initial  letters,  illuminated  and  height- 
ened with  gold. 

Bound  in  brown  morocco,  tooled  sides  and  gilt  edges,  by 
F.  Bedford. 

Size,  5f  x  7j  inches. 

20  HOR/E  BEAT^  MARINE  VIRGINIS  CUM  ALIUS 
OFFICIIS.  Manuscript  on  Vellum.  8°.  XV  Cen- 
tury. 

A  Flemish  manuscript,  with  borders  to  each  page;  thirteen 
large  and  forty-six  small  miniatures. 

In  the  old  calf  binding,  with  sides  stamped  and  tooled  in  gold, 
gilt  edges. 

Size,  5-g-  x  j\  inches. 


21    HOR.#;  BEAT^E  MARI^  VIRGINIS.     Manuscript 
on  Vellum.     Small  40.     XV  Century. 

By  a  French  scribe.     Ornamented  with  five  large  miniatures, 
and  borders  of  flowers,  fruits  and  insects,  in  gold  and  colors. 
Bound  in  old  French  red  morocco,  with  silver-gilt  clasp. 
Size,  5  X  6|  inches. 

9 


CATALOGUE 

22    B<  >OK    <  >!•     HOURS.      M  •    Vl  i.i  I'M.     8   . 

XV  v. 

Flemish.      It  has  twelve  large,  delicately  executed    miniatures, 
with  richly  illuminated  borders. 

ad   in   brown   morocco,   panels  in   <^>M  on    the  sides,  gilt 
edg  Bedford. 

<  /its. 


llok.l-:    BEATiB   VIRGINIS   MAkLK    IX    USUM 
ROMAN  UM.      Manuscript   on    Vellum.     Small  4  . 

XV    Cl  N  II  RY. 

Probably  Flemish  work.  The  borders,  composed  of  scroll- 
work, flowers,  fruits,  birds  ami  insects,  upon  yellow  -round,  are 
of  unusual  brilliancy.  It  contains  twelve  large  and  eleven  -mall 
miniatures  of  the  school  of  Mending. 

ml  by  1'".  Bedford,  in  brown  morocco,  gilt  edges. 

■St  inches. 


2\  HORjE.     Manuscript  om  Vellum.     Smali   4  .     I  ■■:■ 

;  RY. 

A  French  manuscript,  written  upon  one  hundred  and  twenty- 

:  very  fine  vellum,  with  delicate  borders  to  each 

.11   and    twelve   large  well-painted   minia- 
tures, remarkable  for  breadth  and  boldness  of  treatment 

10 


FROM  THE  BOOK  OF  HOURS 
No.  41 


CATALOGUE 

Binding  of  old  green  Renaissance  velvet,  upon  oak  boards, 
gilt  edges. 

Size,  4f  x  5f  inches. 


25   HOR.E  BEATy£  MARINE  VIRGINIS.     Manuscript 
on  Vellum.     40.     XV  Century. 

French.  Written  on  one  hundred  and  sixty  seven  leaves,  with 
delicate  borders;  twelve  large  finely  painted  miniatures,  and 
many  beautiful  initial  letters,  some  historiated.  According  to 
an  inscription  at  bottom  of  the  first  page,  following  the  cal- 
endar, it  belonged   to   the  "  Monastery  Celle    Abbatis    Septr." 

Bound  in  old  French  red  morocco,  sides  in  gold  panels,  gilt 
gauffered  edges. 
Size,  6  x  8f  inches. 


26  BOOK  OF  HOURS.    Manuscript  on  Vellum.   Large 
8°.     XV  Century. 

Written  upon  one  hundred  and  forty-five  leaves;  each  page 
surrounded  with  brilliant  and  elaborate  borders;  also  fifty-nine 
miniatures  (twenty-three  large  and  thirty-six  small),  all  most 
carefully  executed.  The  larger  measure  3x5!  inches.  Although 
the  work  in  this  manuscript  is  evidently  French,  it  combines 
a  mixture  of  Flemish,  French  and  Italian  styles  of  treatment, 
especially  in  the  borders,  some  being  pure  arabesque,  others 
composed  of  fruits  and  flowers,  in  the  manner  of  the  Touranian 

II 


CATALOG 

School,  and   all  in  gorgeous  coloring.     The  arms  of  the  person 
fur  whom  the  book  was  executed  are  painted  in  several  p] 

rders. 
Bound  in  old  crimson  velvet,  gilt  i  :. 
■  '    ■    8f  inches. 


27   HEURES.     Manuscrifi   om  Vellum.     8°.     X\T  Cen- 

I  IKY. 

1  >:  French  execution.  The  borders  are  ornamented  in  the 
Italian  arabesque  style,  upon  grounds  of  various  colors.  The 
book  has  eleven  full-page  miniatures. 

Hound    in    Lavalliere   morocco,  inlaid  with   red  morocco,   gilt 
edges.      The  last  mosaic  binding  done  by  Joly. 
"   x  G\  inches. 


2N  BOOK   OF    HOURS.     Manuscrifi  m  Vellum.    8°. 

XV     Cl    Ml   KV. 

Flemish  ;  with  delicate  borders  of  flowers,  fruits  and  scroll-work 
upon  gold  ground.  It  has  fourteen  full-page  miniatures  of 
Scriptural  scenes,  and  twelve  small  miniatures  in  the  calendar. 
I  he  arms  of  the  former  owner  are  repeated  several  times  iii  va- 
rious parts  of  the  book. 

Hound  by  Joly,  in  brown  morocco,  with  an  original  pattern  in 

mosaic  on  the  sides,  and  doubled  with  reil  morocco  tooled  in  gold. 
The  original  gilt  and  painted  edges  preserved. 

inches* 

1  2 


CATALOGUE 

29  PRECES   PI^.     Manuscript  on  Vellum.    Small  40. 
XV  Century. 

Flemish.  With  eleven  full-page  miniatures,  and  borders  in 
gold  and  colors. 

Bound  by  Cape  in  green  morocco  doubled  with  red  morocco, 
with  dentelle  borders,  gilt  edges. 

Size,  4f  x  6f  inches. 


30  PSALMONIUM.     Manuscript  on  Vellum.    40.     XV 
Century. 

Probably  French.  With  twenty  miniatures  and  a  number  of 
delicate  borders,  some  upon  gold  ground. 

Bound  in  brown  morocco  with  mosaic  medallions  on  sides,  gilt 
edges,  by  Cape. 

Size,  7  j  x  5  \  inches. 


3  I    HOR^E.    Manuscript  on  Vellum.    40.    XV  Century. 

Of  French  execution,  and  containing  eleven  large  miniatures 
of  unusual  delicacy  and  beauty.  They  are  divided  into  upper 
and  lower  sections,  picturing  the  various  phases  of  the  subjects 
treated.      Some  of  the  borders  are  composed  of  small  figures. 

Bound  by  Le  Gascon  in  red  morocco,  inlaid  with  colored  mo- 
roccos, and  covered  with  fine  gold  tooling  in  points  and  dotted 
lines,  gilt  edges. 

Size,  4j  x  6§  inches. 

13 


J3  H«  >RATIUS   CARMINA.      M-  .   Vellum. 

In  Foua     Eari  v  XV  Ci  m 

An  Italian  manuscript,  written  on  one  hundred  ami  forty-one 

leaves. 

It  contains  by  way  of  frontispiece  a  painting  upon  yellow 

vellum  in  camaieu  heightened  with  gold.  The  title  "Q.  Oratii 
Flacci  Venusini  Carminum  liber  primus  incipit  M.  Antoninus 
MauFocenus  Patricius  Venet  Sibi  et  Suis.  V.  F."  i-  upon  an 
entablature,  with  a  Faun  ami  a  Satyr  on  either  side  playing 

upon  flutes.  The  original  owner  of  the  book,  Marc  Antonio 
Morosine,  whose  arms  are  emblazoned  in  an  elaborate  b  i 

was  a  Venetian  and  a  patron  of  Aldus,  who  dedicated  to  him 
his  edition  of  Lucan,  published  in  1502.  The  manuscript  is  in 
roman  Utters,  with  notes  in  italic  writing.  There  are  beautiful 
initial  letters  and  borders  to  each  division  of  the  text.  The  last 
leaf  contains  a  life  of  Horace  in  Latin. 
I!<  >und  in  old  vellum. 
i  lies. 


33   FRENCH    .WD    LATIN    HOURS    OF    HUBERT 
I>r    BERRY    D'ARTOIS.     Mam  -  ripi  ok  Velli  m. 
1    F<  'i  [o.     XV  Century. 

A  magnificent    French    manuscript,  written  upon  two  hundred 

and  thirty-seven  leaves  of  vellum.    Each  of  the  four  hundred  -\\\^\ 

seventy-thrc  lelicate  and  elaborate  border  com- 

.  fruits,  bin!  beasts,  among  which 

are  centaurs,  and  nondescripts.     There  are  also  bun- 


) 


atxtmnn 
ctfacf  ar   j 

nuOtm  <tf  ww  Oicvi  ifuf  f<\ 
fue  cvo  mv  affdiiya .  \f^>tt 

p(it)aCHntt{\uvi8i\(H  an 
jvuHUMMcatiu  fiirt.o:ano 

^jj^miftvue  Scan 


r 


FROM    THE    HOR/E 

No.  49 


CATALOGUE 

dreds  of  fine  capital  letters,  thirty-two  large  miniatures  and 
twenty-four  smaller  in  the  calendar;  all  painted  with  great  skill 
and  brilliancy.  The  arms  of  Hubert  du  Berry,  impaled  with 
those  of  Pericard,  are  emblazoned  in  various  parts  of  the  volume. 

Bound  in  red  velvet,  the  edges  painted  upon  the  gilt. 

Size,  7f  x  \o>\  inches. 


34  BOOK   OF  CALLIGRAPHY.     In  Folio.    XV  Cen- 
tury. 

A  series  of  elegant  designs  executed  upon  vellum  with  great 
skill  and  accuracy.  They  comprise  samples  of  ornamental  al- 
phabets, borders,  etc.,  in  colors  and  gold.  A  unique  and  valu- 
able volume,  as  illustrative  of  the  history  of  illumination.  The 
designer  is  Guinifortus  de  Vicomerchato,  and  the  work  was  done 
about  1450. 

The  binding  is  cotemporary  vellum. 

Size,  g\  x  1 3^-  inches. 


35   HOURS    OF   THE   VIRGIN.     Manuscript  on  Fine 
Vellum.     40.     XV  Century. 

A  Flemish  manuscript  with  rich  borders  of  flowers,  birds 
and  insects  upon  a  gold  ground.  It  also  has  thirteen  large 
and  small  miniatures,  exquisitely  painted  in  the  best  style  of 
Flemish  art  of  the  period.  The  draperies  in  some  of  the  sub- 
jects treated  are  possibly  by  a  different  hand  from  that  which 

7  15 


CATALOG  Ul 

•.ted    the    heads,    which    are    remarkable     tor    fineness    and 
beauty.      The  miniature  of  the  Virgin  and  Child  is  consid 
by  the  most  competent  expert  the  work  of  Hans  Mem- 

Bound  in  old  red  morocco,  covered  with  fine 
the  mannei  won,  but  probably  executed  in  Holland, 

i   \es. 


j6  SUETONI1  TRANQUILLE  DE  DUODECIM  CM- 
SARIBUS;  OPUS  ELEGANTISSIMUM  FELICI- 
1  ER    E  I     PRINK  >    1  >K   JULU  I    CjESARE.     Manu- 

:.n  t  upon   Paper.     F<  h  v  >.     X\    I  ry. 

is  surrounded  by  an  elaborate  border,  with 
subjects  painted  in  medallions.  The  book  was  evidently  the 
property  of  a  bishop,  as  indicated  by  the  miter  over  the  coat  ol 
arms. 

Bound  in  brown  morocco,  gilt  ed. 
t,%\  x  I  I  i  i  tic  Ins. 


HORATU    CARMINA.       Manuscripi     oh    Vellum. 

FOI  I".       XV    Cl  NTURY. 

An  Italian  manuscript,  with  five  beautiful  borders,  hea.: 

..Id  and  colors,  and  historiated  initial  letters,  painted 
imaieu,  heightened  with  gold     This  manuscript  is  in  very 
t'me  and  perfect  condition,  ami  exemplifies  one  of  the  I 

10 


CATALOGUE 

of  Italian  art.     The  arms  of  the  original  owner  are  at  the  bottom 
of  the  first  page. 

Bound  by  Charles  Lewis,  in  purple  morocco,  gilt  gaufre  edges. 

Size,  i\  x  i  \\  inches. 


38  LIVRE    D'HEURES.      Manuscript  on  Vellum.     40. 
XV  Century. 

A  French  manuscript  written  upon  one  hundred  and  twenty- 
seven  leaves.  The  calendar  is  in  French,  each  page  containing 
two  miniatures,  making  twenty-four  for  this  portion  of  the  book. 
There  are  two  hundred  and  fifty-four  borders  to  the  pages,  and 
in  all  sixty-five  miniatures,  of  which  thirteen  are  page  size.  The 
work  is  possibly  French,  but  there  are  indications  of  Flemish 
influence. 

Bound  in  Lavalliere  morocco,  doubled  with  green  ;  the  sides 
and  back  ornamented  with  a  rich  mosaic  of  colored  moroccos, 
arid  the  inside  of  the  covers  covered  with  gold  tooling  "a  la 
fanfare"  ;  the  work  of  David  and  Marius  Michel. 

Size,  5  x  6f  inches. 


39  HOR^E.     Manuscript  on  Vellum.    40.    XV  Century. 

Flemish  ;  with  borders  to  each  page,  and  thirty-four  minia- 
tures—  eight  large  and  twenty-six  small. 

Bound  by  Thouvenin,  in  red  morocco,  richly  tooled  and 
doubled  with  green  morocco,  also  tooled  in  gold,  gilt  edges. 

Size,  6\  x  8^  inches. 


CATALOGUE 
40  HORifL    M\Ni  v  ript  on  Vellum.    4  .    XV  Century. 

I  »I    French    execution,  and    written    upon    one    hundred    and 
hty-seven  leaves.    It  contains  twenty-six  full-page  miniatures, 

surrounded   by  rich   borders  of  scroll- work  with   birds,  flower-, 
fru:-  rsonages  dressed   in   various  contempo- 

rary costumes.     The  miniatures,  with  background  of  landscapes 
and  architecture,  are  beautifully  painted. 

D  the  inside  of  the  cover   is  the    indorsement,  in  Spanish, 
dated  1575,  of  the  commission  of  the  Lords  of  the  Inquisition,  to 
the   effect    that   the    manuscript    had   been   examined    by   them. 
The\-  have   made  one  or  two  erasures  in   the  text. 
Bound  in  crimson  velvet,  red  edges,  with  silver  clasps. 
.dies. 


41    BOOK  OF  HOURS.     Manuscript  on  Vellum.     40. 
XV  Century. 

Written  in  France,  about  1435,  -ind  upon  one  hundred  ami 
itv-ninc  leaves.  It  has  elegant  borders  of  burnished  gold 
surrounding  each  page.  There  are  sixteen  large  miniatures,  of 
unusual  richness  and  careful  execution.  The  borders  to  these, 
which  are  remarkably  brilliant,  are  Supposed  to  be  by  the  same 
artist  who  dec-rated  the  Bedford  Missal  At  the  bottom  of 
of  the  miniatures  is  the  coat  of  arms  <.A  the    Levis  family  : 

tin  as  sable  on  a  gold  field 

Bound  in  crimson  n.  --■■  plaque  in  silver  on 

the  side,  and  silver  cla |] 
6  X  &\  inches. 

18 


PROM    rill     : 


CATALOGUE 

42  HOR^E  BEAT^   VIRGINIS.     Manuscript  on  Vel- 
lum.    40.     XV  Century. 

Contains'  twelve  large  miniatures  within  full  borders ;  also  a 
large  number  of  initial  letters  of  burnished  gold. 

Bound  in  brown  morocco,  tooled  sides  and  back  to  a  Grolier 
pattern,  gilt  edges. 

Size,  5f  x  8f  inches. 


43   LIVRE  D'HEURES.    Manuscript  on  Vellum.    Small 
40.     XV  Century. 

A  French  manuscript,  with  colored  borders  to  each  page, 
and  nine  miniatures. 

Bound  by  Cape,  in  red  morocco,  with  mosaics,  covered  with 
fine  tooling  in  gold,  and  doubled  with  brown  morocco,  with 
dentelle  borders,  gilt  edges. 

Size,  4j  x  6f  inches. 


44  HOR^E.     Manuscript  on  Vellum.    8°.    XV  Century. 

Flemish  manuscript,  with  borders  to  each  page,  and  eleven 
large  and  forty-six  small  miniatures. 

Lyonese  stamped  and  tooled  binding  of  calfskin  upon  oak 
boards,  gilt  edges  ;  with  the  name  Marie  Chariot  in  gold  on 
either  side. 

Size,  4%  x  7-g  inches. 

19 


45  HORM  i i i :  \  i  i :  m  arm-;  virginis.    M 

v.      4    .      XV  I       ■ 

h   mantu  cuted   ft >r   s.>inc    ooble   lady,  whose 

[trail  is  found  kneeling  before  the  standing  figure  of  the  Yir- 
and  Child,  and  is  su]  retol  Anjou,  wife  of 

nry  VI 

The  \\<>rk  of  two  artists  is  distinguishable  in  the  paintiii 
which  there  is  an  unusual  number:  fifty-one  of  .  and 

tlty-four  small.      These  miniatures,  as  well   as  the  bordi 

the  me  delicacy  and  beauty.     Some  of  the 

.ire  in  the  French  languag 
■  1  by  Riviere,  in  red  morocco,  doubled  with  green,  richly 

• 

7  inches. 


4(1   Ih'k.K  KKAT.K  MAKLK  VIRGINIS.     Manus 

\'i  1 1  i\i.     Small  4  .     X\    1  \.\. 

A    Flemish   manuscript,  containing  ten  full-page  miniatures 
with  bo:  including  smaller  miniatures  or  historiations. 

ind  in  the  original  brown  -tamped  m 
.  S  x  7  inches. 


47  HORjE.     M  •  w  Vellum.    8°.    XV  Century. 

iteen  miniatures,  somewhat  rude  in  execution, 

and  without   bor<: 


CATALOGUE 

It  has  been  placed  in  an  English  chased-silver  binding,  with 
silver  clasps  and  chain,  probably  made  in  the  seventeenth 
century. 

Size,  4 j  x  6 1  inches. 


A$  HORyfL.      Manuscript  on  Vellum.      Small  40.     XV 
Century. 

Written  upon  the  thinnest  of  fine  Italian  vellum,  and  probably 
in  Italy.  It  contains  twelve  small  and  extremely  delicate  minia- 
tures in  grisaille  (red,  blue  and  brown),  heightened  with  gold. 

Bound  in  old  brown  morocco,  tooled  sides,  by  one  of  the  Eves. 

Size,  4  x  5f  inches. 


49  HORyE.      Manuscript   on  Vellum.     Small  40.     XV 
Century. 

Beautifully  written  French  manuscript,  enriched  with  twenty- 
six  small  miniatures  of  great  delicacy  of  execution  ;  thirty-nine 
borders  upon  gold  or  colored  ground,  upon  which  are  painted 
seven  hundred  and  forty-six  flowers,  representing  a  large  portion 
of  the  French  flora  of  the  epoch ;  also  seventy  butterflies,  eight 
birds,  eighty-six  branches  of  foliage  and  twelve  hundred  and 
forty-five  illuminated  letters.  This  enumeration  gives  some  idea 
of  the  amount  of  work  upon  even  the  less  elaborate  manuscripts, 
of  which  this  is  an  example. 

In  the  original  vellum  covers. 

Size,  4f  x  6§  inches. 

21 


CATALOGUE 
50  PRECES    1'I.K.     Mani  on  Vellum.     8°.     XV 

i.Y. 

•  m  Fren<  b  execution,  with  five  fall-page  miniatures,  and  bor- 
ders of  burnished  gold  and  colors.  The  text  embraces  the  mu- 
sical annotation  written  upon  red  lines. 

Bound  by  Chambolle-Duru,  in  brown  morocco,  blind-tooled, 
gilt  edges. 

nckts. 


51    link/K   PEMBROCHIANiE.     English  Manuscript, 
1  >  1:  Hundred  and  Ninety-five  Leaves  of  Vi  i 
lum.     In  Folio.     About  1440. 

A  remarkable  and  sumptuous  volume  of  unusual  historic  and 
artistic  interest.  It  was  written  for  William  Herbert,  first  Earl 
of  Pembroke,  and  according  to  the  most  competent  living  author- 
ities upon  such  subjects,  is  entirely  of  English  execution.  In  tin- 
middle  of  the  sixteenth  century  it  was  still  in  the  Pembroke  family 

and  in  the  hands  of  the  grandson  of  the  first  Earl,  who  caused 

additional  pages  to  be  written  with  illuminations,  including  the 
Pembroke  arms, and  his  portrait  in  a  kneeling  posture.  The  sup- 
plemental painting  and  writing,  consisting  of  the  Te  Deum  and 
prayers  in  English,  is  greatly  inferior  to  that  in  the  original 
rk,  which  contains  two  hundred  and  sixty-eight  miniatures, 
many  richly  illuminated  borders,  and  a  vast  number  of  decorated 

initial  Lett 

::    to  have  found  its  way  into  Italy,  \\  hence 
it  was  obtained  about  1880  by  Mr.  F.  S.  Ellis,  of  London,  who 

23 


PROM   THE    HoR  I    PI  M 


CATALOGUE 

published  in  that  year  an  account  of  the  book,  with  detailed  de- 
scriptions of  each  miniature,  accompanied  by  facsimiles  of  several. 

The  binding  is  in  old  crimson  Renaissance  velvet,  upon  wooden 
boards,  having  clasps  and  corner-pieces  of  silver  engraved  in  the 
manner  of  Nielli,  and  probably  dates  from  the  latter  part  of  the 
sixteenth  or  the  early  part  of  the  seventeenth  century. 

Size,  8 j  x  u-^  inches. 


52  MINIATURE.    On  Vellum.    By  Giulio  Clovio.    XVI 
Century. 

The  subject  is  the  Crucifixion.  St.  John  and  soldier  stand 
on  the  right,  St.  Mary  Magdalen  is  at  the  foot  of  the  cross, 
while  on  the  left  the  Virgin  has  fallen  fainting  in  the  arms  of 
the  holy  women.  The  whole  is  beautifully  drawn,  and  the  ex- 
pression of  the  faces  admirable.  Mr.  Bradley,  in  his  life  of 
Clovio,  states  that  the  artist  in  his  early  days  studied  especially 
Diirer  and  Michelangelo.  Later  he  was  taken  up  with  the 
work  of  Raffaelle,  and  still  later  with  the  Netherlandish  painters, 
and  "worked  with  a  vast  amount  of  patient  stippling." 

This  miniature  formerly  belonged  to  the  Celloti  collection, 
sold  at  Christie's  in  London  in  1825.  Later  (1856)  it  was  in 
the  Wilson  collection.  It  is  engraved  by  Shaw  in  his  "  Decora- 
tive Arts  of  the  Middle  Ages,"  and  considered  by  him  to  have 
belonged  to  the  volume  executed  for  Gregory  XIII,  mentioned 
by  Baglione  in  his  work  published  in  1642. 

Framed. 

Size,  5f  x  o>\  inches. 

8  23 


53   HORiE,     Manuscrifi  on  Vellum.     Small  40.     X\'I 

.111   exquisite  example  of  Italian  v. 
the  school  of  Giulio  Clovio.    An  inscription  at  the  end  in  French 

•    9    that    it    was   written   in    the    Noble    House   and    Ah': 

at  Atnand,  in  the  Year  of  Grace    1537,  at  the   1 

in    (inelin.      Tile    miniatures,  <>f  which    there 

eleven,  page  size,  are  extremely  hue  and  brilliant,  and  the 

drawing   of  these  and   the  d(  re  in 

the   best   Italian   taste  of  the  time.      The  initial  letters,  of  which 
there  are  many,  are   also  very  beautiful.      The  vlume  is  in   the 

fin  ndition  throughout 

Bound   by  Joly,  in   red   morocco,  doubled    with   the  same,  and 
ornamented    with    tooling   and    mosaic    of   different    colors,   the 
.;fre. 

1  nctus. 


S4  PRECES   I'M-:.     Manuscript  on  Vellum.     Large  4  . 
.  w   XVI  Centi  ry. 

A  French  manuscript  written  in  bold  Gothic  letters,  with  some 

..f  the  inscriptions  and  prayers  in  the  French  language.     It  has 
hundred   and    eighty-three   miniatures,   of    which    thirty- 

bt    are    full-page,    and     ^nv    hundred    and    forty-five    smaller, 

varying  in  siz<  of  the  paintings  extend  across  two  p 

>ut  thirteen  inches  in  length. 

Hound  in  red  morocco,  tooled  sides,  gilt  edg<   .  by  l  •  Pui 
inches. 

-M 


'    THE    HOR  1     PI  MBRO  MAN  1 

5 1 


CATALOGUE 
55   PASSIO    DOMINI.      i6°.     XVI   Century. 

Seventeen  Italian  miniatures  upon  vellum,  depicting  the 
Miracles  of  Christ,  with  descriptive  text  to  each  painting. 

Bound  by  C.  Lewis,  in  olive  morocco,  doubled  with  morocco 
of  the  same  color,  tooled  in  gold,  gilt  edges. 

Size,  3  \  x  4f  inches. 


56  HOR^:  BEAT^  MARINE  VIRGINIS.     Manuscript 
on  Vellum.      i6°.     XVI  Century. 

A  French  manuscript,  with  eleven  full-page  miniatures  and 
many  smaller;  twelve  historiated  borders  to  the  calendars,  all 
finely  executed  and  of  extreme  delicacy. 

Bound  in  old  French  olive  morocco,  gilt  edges. 

Size,  2\  x  3f  inches. 


57  HEURES.    GOTHIC.    Manuscript  on  Vellum.    i6°. 
Early  XVI  Century. 

Contains  twelve  large  and  twenty-one  small  miniatures,  also 
forty-six  borders  of  flowers  and  fruits,  in  colors  and  gold. 

Writing  in  the  book  states  that  it  was,  on  the  20th  of  Decem- 
ber, 1552,  bequeathed  to  the  Reverend  Father  in  God  M.  Nico- 
las, Abbe  of  St.  Jay,  by  the  Demoiselle  Margharite  Orohin. 

Newly  bound  in  brown  calf,  blind-tooled,  with  the  original 
clasp  containing  a  miniature  head  of  Christ. 

Size,  3 1  x  6\  inches. 

25 


CATALOGUE 

n  Vellum.    8°.     XV] 

!.Y. 

Flemish.      Containing   eleven  large  and   seventy-two 

miniatures,  the  latter  introduced  in  broad  ornamented  borders. 
.ire    not    in    the   best   style    of    the    art,  hut    ex- 
tremely interesting,  owing  to  their  vigorous  execution  and  the 
somber.  I    ne  pervading  them  all.     This  book 

an  additional  interest  from  havin 

ription  of  Jeanne  de  Malberbe,  dated  I  bably 

the  of  the  family  of   Malherbe.  the   French 

md  in  black  morocco,  by  Kochler. 
|   inches. 


»]  i  [<  II  M    BEATiE    MAR1.1-:   VIRGIN1S.    M an.  - 

.     Vl  I  I.l   If.        S\I  \I.I.    .\     .        XVI     Cl  M "I    KV. 

An  Italian  manuscript,  with  three  rate  minia- 

tures and  borders  combined. 

Hound  by  (iruel  in  brown  morocco,  blind-tooled, 

silver  da 

>:<  /tcS. 

0    lONAVENTURiE        SAN<   I  I         PS  VLTERIUM 

\  I  .V.  MAkl.K  VIRGINIS.    M\m  s<  km  i  ow  Vi  i- 

LUM.       I  -'    .       XVI    (    I    -  I  i  RY. 

Written  in    Roman    letters  within    gold    line  I  '■■'  COD 

hi  fine  miniatures,  beautifully   painted  by   the   Italian 
26 


CATALOGUE 

artist  Frederico  Baroccio  of  Urbino.  The  book  was  presented 
to  Queen  Christina  of  Sweden  by  Pope  Alexander  VII.  She, 
before  her  death,  gave  it  to  her  chaplain. 

Bound  in  black  morocco,  with  silver  clasps. 

Size,  3f  x  7f  inches. 


6  I    LA  GUIRLANDE  DE  JULIE.    Manuscript  on  Vel- 
lum.    XIX  Century. 

Facsimile  of  the  second  and  smaller  of  N.  Jary's  celebrated 
manuscripts  containing  the  poems  addressed  to  Mile,  de  Ram- 
bouillet.     This  copy  was  made  by  V.  Bouton. 

Bound  in  blue  morocco,  with  garlands  of  foliage  on  the  sides, 
gilt  edges. 

Size,  5  x  y\  inches. 


62  LATIN    MISSAL.      Manuscript  on  Vellum.     Folio. 
XV  Century. 

A  German  manuscript  written  in  bold  Gothic  letters,  two 
columns  to  the  page,  with  six  very  large  and  sixteen  smaller 
miniatures.  Rich  borders  of  flowers,  insects,  birds  and  scroll- 
work. 

The  first  two  leaves  have  the  arms  of  the  original  owner 
emblazoned  in  rich  colors,  full  size  of  the  page. 

Bound  in  old  black  morocco,  gilt  edges. 

Size,  gf  x  13-^  inches. 

27 


CATALOG 

63    rOURANIAN    MISSAL.      Manuscrifi    on  Vellum. 

1"'  -1 1  >.     XVI  Cen  1  ikv. 

Beautifully  written  upon  very  tine  vellum,  in  <  i« >t Hie  characters, 

Columns  t>>  the  page.      As  a  work  of  art,  this  volume  ranks 

with  tlu  •    ■    land    The  miniatures,  of  which  there  are  five 

•  them  measuring  7  <  IO  inches)  ami  seventeen 
smaller  (2  >.  all  surrounded  by  elegant  borders,  are 

the  work  of  Touranian  artists  of  the  school  of  Jean  Foucquet 

Their  execution   is  admirable,  ami,  although    French,  they  sh«>\\ 
the   influence   of  the   Italian   art  of  the   period. 
Bound  in  old  crimson  velvet,  ^ilt  edges. 
OX  13 \  inches. 


n.j   Oil  ICIl'M    BKA'IVE   VIRCINIS    MARIA      Mam - 
'.    \  I!  LUM.       I')   .      XV    Cem  I  IKY. 

A   most  delicate  and  beautiful  example  of  Italian  work  of  the 
latter  part  of  the   fifteenth   century.      It   was   executed   in 
by  Sigismundus  de  Sigismundis  for  Francesco  Sfondrato,  who 
ame  Bishop  of  Cremona  .mA.  in  1534.  Cardinal. 

The   following   IS   the    inscription   by  the   artist,  written  in  red 
ink,  n<ar  the  middle  of  the  volume: 

"Expliciunt  septem  psalnrl  penitenoales  in  1  -pi  die 

XXII   Octobris  MCCCCLXXXXVIII.  per  Sigismundum  de  S 
mondis  de  Carpo." 

.en  miniatures  (two  with  the  Sfondrato  arms), 

ind  man}-  illuminated  capital  l>  • 


CATALOGUE 

The  borders  to  the  miniatures,  which  are  arabesque  in  style, 
contain  numerous  small  medallions  with  heads. 
Bound  in  blue  velvet,  gilt  edges. 
Size,  3-g-  x  4^  inches. 


63   HOR^E.     Manuscript  on  Vellum.    8°.    XV  Century. 

A  French  manuscript,  with  nine  full-page  miniatures  care- 
fully painted. 

Bound  by  Duru,  in  brown  morocco  gilt,  with  the  sides  and 
back  enameled  in  green  and  red  to  a  Grolier  design,  gilt 
edges. 

Size,  4^  x  6|  inches. 


66  ANTIPHONALE.      Manuscript    on    Vellum.      XV 
Century. 

A  Flemish  manuscript  adapted  for  church  service,  but  exe- 
cuted with  more  than  usual  care;  the  text  and  music  orna- 
mented with  a  vast  number  of  small  drawings  of  heads  and 
masques  cleverly  done  with  the  pen.  There  are  eighteen  minia- 
tures varying  in  size,  some  of  them  joined  to  borders  consisting 
of  flowers,  birds,  etc.,  painted  upon  yellow  ground. 

In  one  of  the  borders  is  the  date  of  its  execution  (1541). 

Bound  in  the  original  oak  boards  covered  with  stamped 
leather,  with  brass  bosses,  corners,  clasps  and  feet. 


Size,  1 2  x  1 6f  inches. 


29 


CATALOGUE 
67  HORiB     m:\T.K     VIRGINIS     MARINE.      Mam - 

\  S        LL  40.       XV    (    !  \  I  URY. 

A  French  manuscript  written  upon  one  hundred  and  fifteen 
leaves  of  vellum,  with  fourteen  full-page  miniatures,  and  many 
illuminated  borders  and  initial  let! 

B  tund  in  purple  velvet,  gilt  edges,  and  silver-gilt  clasps. 

lies. 


68  HORiE   BEATjE   VIRGINIS.     Manuscript  on  Vbi 
1  r\i.     1 2  .     XV  Century. 

A  Fl  misfa  manuscript  finely  written,  with  thirteen  larj 
a   number  of  small   miniatures.     There  are  also  man>-  borders 
composed  of  flowers,  insects,  figures  and  animals. 

.1  in  dark-blue  velvet,  gilt  edges,  with  engraved  silver- 
gilt  corner-pieces  and  clasps. 
ukes. 


69  II(>k.K.     Mam -1  hi    on    Vellum.     Smali    4  .     XV 

I  1 

An  admirable  manuscript  upon  three  hundred  and  thirty-four 
for  th    R    ;ente  Anne  dc  Beaujeu,  daughl 
It  is  remarkable  f«>r  the  beauty  and  ■ 
nality  of  its  miniatures,  of  which  there  are  twenty-four  in  the 
ndar  and  one  hundred  and  Beven  full  size  <>t  th<  p 

in  the  life  of  Christ,  subjects  taken  from  the  old 
30 


CA7AL0GUE 

Testament,  and  others,  secular  in  character,  picturing  fetes,  pro- 
cessions, banquets,  etc.  These  miniatures,  of  a  high  order  of 
merit,  are  of  the  school  of  Jean  Foucquet,  if  not  in  part  by  this 
master,  who  at  the  time  of  their  painting  (1477)  was  still  living 
and  about  60  years  old.  The  book  was  probably  ordered  by 
Louis  XI  for  his  daughter,  as  he  had  caused  one  of  a  similar  char- 
acter to  be  executed  for  Marie  de  Cleves,  Duchesse  d'Orleans, 
mother  of  Louis  XII. 

Bound  in  red  morocco,  by  Le  Gascon,  gilt  edges,  with  clasps. 

Size,  4t  x  5t  inches. 


70  MISSAL.    Manuscript  on  Vellum.    8°.   XV  Century. 

A  manuscript  of  the  Flemish  School,  containing  thirteen  full- 
page  and  twenty-one  small  miniatures  ;  richly  colored  scroll  bor- 
ders with  varied  designs  on  almost  every  page. 

Bound  in  old  black  leather,  with  gilt  coat  of  arms  of  the  period, 
silver  clasps. 

Size,  4  x  6-§-  inches. 


71    MISSAL.     Manuscript  on  Vellum.     i6°.     XV  Cen- 
tury. 

A  manuscript  of  the  Venetian  School,  containing  six  full-page 
miniatures  and  nineteen  small  ones,  on  rich  arabesque  ground 
of  pique  gold,  after  the  manner  of  the  enameled  frescos  of  San 
Marco. 

Bound  in  crimson  morocco,  eighteenth  century. 

Size,  3  x  Af\  inches. 

9  31 


CATALOGUE 

72   MISSAL.     M  1  I'm.     Small  .;  .     XV 

A  French  manuscript  of  the  Lyons  School,  containing  fourteen 
fall-page  miniatures. 

Bound  by  Lortic  Freres,  1889. 
\  x  $i  inches. 


73  MISSAL.     Manuscript.     Small  40.     XVI  Century. 

Chiefly  interesting  on  account  of  rich   silver  repousse  Louis 
XV  binding,  with  repousse  silver  l'. 
6  inches. 


74  MISSALE  ROMANORUM.    Manuscript  on  Vi 
8°.     XV  Century. 

Sixteen  fall-page  miniatures  and  -  mall  ones. 

■(!  by  Matthews,  in  dark-blue  crushed  levant. 
Size,  4^  x  G'l  inches. 


7^»    PRECES.      M  ;    OH  Thin   VELLUM.      Smaii    4    . 

XVI  Century. 

ript  <>n  twenty- two  leaves  of  vellum.    One  full- 
with  rich:  All 

32 


FROM    THE    TOURANIAN    MISSAL 
No.  63 


CATALOGUE 

the  other  pages  with  exquisite  insects  and  flowers  in  their  natu- 
ral colors  on  the  margins.  The  book  was  praised  by  the  former 
owner,  T.  F.  Dibdin,  in  1828,  as  of  unsurpassed  delicacy  and 
beauty. 

Bound  by  Lewis,  in  smooth  morocco,  with  a  side  of  the  origi- 
nal old  stamped  leather  binding  inserted  on  the  inner  side  of 
the  back  cover. 

Size,  3  j  x  47?  inches. 


76  OFFICIUM  PURISSIMAE  ET  IMMACULATAE 
CONAPTIONES  DEIPARI  VIRGINIAE  MARIAE, 
AD  MATUTINEM.  Manuscript  on  Vellum.  Small 
40.     XVII  Century. 

French  manuscript  on  fine  vellum.  Full  of  the  most  perfect 
pen-and-ink  minute  interfacings  and  initials  in  black  and  gray. 

Bound  in  crimson  morocco  with  gilt  border,  probably  eigh- 
teenth century. 

Size,  3-4  x  4-|  inches. 


77  MISSAL.     Manuscript  on  Vellum.     Small  40.     XV 
or  XVI  Century. 

Six  full-page  miniatures  surrounded  by  rich  floriated  borders, 
the  six  opposite  pages  having  borders  to  match.  Numerous 
gilt  and  illuminated  initials  throughout  the  text. 

Bound  in  green  morocco,  with  gilt  metal  framework  cover- 
ing the  outside  of  the  front  cover,  an  ivory  carving  of  the  Cru- 

33 


MOGUL 

i  in  the  center,  and  four  color  on  the  corners; 

:i  ill  gilt  clasps.      Between  the  stones  are  metal  seals  em- 
blematic of  Luke.  John,  Matthew,  and  Mark.      Red  edges,  with 
gilt  design  running  through  the  red 
Inches. 


78  SPANISH   PATENT  OF  NOBILITY.     Manuscriw 

Vi  1  :  1  if.       Foi  I".       Will    Cl-.N  I  IKY. 

i  in   1 7  10  by  Philip  V,  King  of  Spain,  to  Don  Francisco 
r.      Four  large,  rich,  and  fine  pain- 
Hound  in  Spain,  eighteenth  century,  in  brown  leather  with  gill 

•    11,1  inches. 


7^>  PRAYER    BOOK.     Manuscript  on  Vellum.     Smali 

4    .       XV    Cl  N  I  URY. 

Flemish.      Calendar,   twelve   leave-.      Text,  one   hundred   ami 

twenty  1< 

Five  miniatures  in  capita]  letters;  thirty-eight  small ;  subject 
in  margin;   done  with  pen  in  filigree-  red  and  blue. 

In  the  original  binding  in  oak  boards  and  brown  calf,  with 
b  and  fleurs-de-lis  on  covers.    Silver-gilt  clasps,  one  repre- 
senting St  Catherine,  the  other  St.  Anne,  Virgin  and  Child. 

Purchased  in  i860  at  the  sale  of  the  late   lean  de  Meyer  at 
Ghent 

*  kts. 

34 


CATALOGUE 

80  SPANISH  PATENT  OF   NOBILITY.     Manuscript 
on  Vellum.     Folio.     XVIII  Century. 

Issued  by  Philip  V,  King  of  Spain,  in  1721  to  De  La  Barra. 
Six  full-page  miniatures,  thirty-six  richly  illuminated  lines,  with 
miniatures  for  initials. 

Bound  in  old  maroon  silk  velvet,  with  brocade  ribbons  instead 
of  clasps. 

Size,  7|  x  1  if-  inches. 


I   SPANISH  PATENT  OF  NOBILITY.     Manuscript 
on  Vellum.     Folio.     XVIII  Century. 

Issued  by  Charles  III,  King  of  Spain,  in  1775  to  Don  Ramon 
Zazo  y  Ortega.      Four  full-page  and  twenty  smaller  miniatures. 

Bound  in  Spain,  eighteenth  century,  in  crimson  leather  with 
gilt  border. 

Size,  7|  x  1  if  inches. 


82  ITALIAN  DIPLOMA.     Manuscript  on  Vellum.     In 
Folio.     XVII  Century. 

Issued  by  the  University  of  Padua  in  1680  to  a  Doctor  of 
Medicine.  Two  full-page  miniatures,  and  twenty- four  pages 
with  broad  illuminated  borders. 

Blue  cardboard  cover. 

Size,  6f  x  9^  inches. 

35 


CATAI.C 

s"   MINIATURE,    on  Vellum.     XV  Century. 

■    initial    letter   O    inclosing    a    miniature    of   the    Holy 
Trinity  and  six   Apostles. 
hes. 


84  BOOK   OF   HOURS.     Manuscript  oh  Vellum.    a°. 

XV  Cen  i  1  kv. 

Written  in  the  German  language,  in  Gothic  letters,  and  con- 
taining five  miniatures  painted  upon  gold  backgrounds. 
In  a  silver-gilt  repousse  and  engraved  binding,  gilt  edges. 
Size,  4]  x  6  inches. 


85  SIX    LEAVES    Cut    prom    an    Illuminated    Manu 

Vl  I.I  IM.        XV    Cl-.M  IKY. 
Flemish.      The  large  initial  letters  historiated  as  follows: 

Fust.  Tin:  Nativity. 

Size,  d\  x  61  indies . 

Second.  Adoration  01  the  Magi. 

6J   x  6|  inches. 

Third.  God  Speaking  to  David. 

'   j  inches. 
rth,    1  in.    RESURRE4  nOH. 

i  hes. 

Fifth  and  Sixth,   HOLY  FAMILIES. 

Fifth  — size,  4x4!  inches      Sixth  —  size,  .; 

36 


■ 


CATALOGUE 

86  HORy^E.      Manuscript  on  Vellum.      Small  40.     XV 
Century. 

A  French  manuscript,  containing  eleven  miniatures  with  bor- 
ders. The  first  one  represents  the  owner  of  the  book  kneeling 
at  an  altar,  with  two  Saints  standing  behind  him,  and  on  the 
reverse  of  the  leaf  his  coat  of  arms  and  initials. 

Bound  in  old  French  red  morocco  (with  the  arms  of  Jean  du 
Bouchet,  Conseiller  du  Roi,  who  died  in  1685),  edges  gilt. 

Size  3f  x  5f  inches. 

87  VOLUME    Containing  Twenty  Miniatures  on  Vel- 
lum.    Small  40.     XV  Century. 

A  series  of  small  Italian  miniatures,  inlaid  in  vellum  leaves, 
within  gold  borders.  They  represent  the  Passion  of  Christ  and 
pictures  of  Saints. 

Bound  in  crimson  velvet,  gilt  edges. 

Size,  3§  x  5 -j  inches. 


88   HOR^:  BEAT^  MARINE  VIRGINIS.    Manuscript 
on  Vellum.     Small  40.     XV  Century. 

A  French  manuscript,  written  upon  two  hundred  and  twenty- 
three  leaves,  with  twenty  miniatures  in  grisaille,  mostly  repre- 
senting the  Passion. 

Bound  by  Lortic,  in  red  morocco,  inlaid  with  green  morocco, 
delicately  tooled,  gilt  edges. 

Size,  3f  x  4f  inches. 

37 


CATALOG  IE 

MINIATURE,     Ow  Vellum.     XV  Century. 

initial  letter  N    with  a  miniature  of  the   Morning  after 

the  Resurrection. 

>'>\  inches. 


90  OFFICES  OF  THE  VIRGIN.     Manuscript  on  Vbi 
ii  m.     io  .     XV  Century. 

French  manuscript,  containing  three  miniatures  with  borders, 
and  various  large  initial  letters  in  gold  and  colors. 
ind  in  old  blue  morocco,  gilt  edges. 
Sise,  nckes. 


Ql    OFFICES  OF  THE  VIRGIN.     Man  i  Vei 

I  I   If.        S.MAI. I      4     .        XV     Cl  M 

Flemish  ;  with  a  number  of  delicately  painted  borders  of  flow- 
ers, insects,  etc. 

Bound  in  russia  leather,  gilt  ed 
i  nckes. 


92   PETRARCA    (F.)    RIME     Manuscripi    on    Vellum. 

s    .       XV    Cl  mi  i;v. 

An  Italian   manuscript,  written   in  italics,  with  the  capital  let- 
in  ^old  on  blue  ground.     Ornamented  with  five  mil-] 
designs  with  miniatures  (on<  n  and  one  00  purpl< 

3S 


CATALOGUE 

lum),  in  the  style  of  Mantegna.  The  upper  part  of  the  fron- 
tispiece consists  of  an  elaborate  entablature  in  which  are  the 
portraitures  of  Petrarca  and  Laura.  The  miniature,  upon  purple 
vellum,  painted  in  gold  and  silver,  represents  the  Triumphi. 
Rabbits  and  birds  are  introduced  in  the  border  to  the  title. 
The  arms  of  the  owner,  at  the  bottom  of  the  page,  surmounted 
by  a  cardinal's  hat,  have  been  erased. 

In  old  Medicean  stamped  binding,  with  medallions  on  the 
sides  ;    gilt  gaufre  edges. 

Size,  6x9  inches. 


93   HOR^     BEAT^     MARINE    VIRGINIS.       Manu- 
script on  Vellum.     40.     XV  Century. 

Flemish ;  with  eleven  miniatures  within  borders. 
Bound  in  green  morocco,  doubled  with  red  morocco,  and  cov- 
ered with  minute  gold  tooling  in  the  style  of  Le  Gascon. 
Size,  6f  x  9  inches. 


94  A  VOLUME  Containing  a  Series  of  Thirty-two 
Early  Miniatures,  upon  Vellum,  of  Initial  Letters, 
hlstoriated  with  flgures.    4°.     xv  century. 

These  paintings,  cut  from  various  manuscripts,  are  mounted, 
and  bound  in  brown   morocco,  silver  corners  and   clasp,  with 
carved  medallions  in  ivory  inserted  in  the  covers. 
io  39 


CATALOGUE 

95  CLOVIO  (GIULIO),  SCHOOL  OF.  ATTRIB- 
UTED BY  MR.  BRADLEY  TO  G*a  BOCCAR- 
DINO.  Miniature  on  Vellum,  representing  thi 
Martyrdom  op  St.  Luke  and  the  Fall  op  the  I 
XV]  Century.  Miniature  on  Vellum,  representing 
the  Crucifixion  of  St.  Francis.     XVI  Century. 

On  back  of  each  of  above  is  an  intercessory  prayer  to  the 
saint  represented. 

v  of  each  miniature,  including  border,  ~\  x  5  J  inches. 

96  LIBER  PRECUM.    Manuscript  on  Vellum.   4c.    XV 
Century. 

Calendar  in  French  ;  prayers  in  Latin  ;  three  hundred  and 
•nty-four  pages;  fifteen  large  miniatures.  An  illuminated 
border  to  each  page  and  a  large  number  of  initial  letters  in 
gold  and  colors. 

Bound  in  old  red  morocco,  gold  tooling,  with  arms  of  Villeroy, 
Archbishop  of  Lyons,  on  side.  Edges  painted  with  flowers  over 
the  gilding. 

Sice,  6]  X9  inches. 

117  OFFICIUM  B.V.M.    Italian  Manuscript  on  Vellum. 

1 6  .     XV  Cek  1 1  RY. 

Latin,  three  hundred  and  twenty-nine  pages;  fifteen  illumi- 
nated and  historiated  capita]  letters. 
Hound  in  silver-gilt  repousse*,  ornamental  designs  with  arms 

in  outer. 

Sice,  2\   :<  3J.  inches. 

40 


O     On 

li 

x 


CATALOGUE 

98  HOR^  B.  MARINE  VIRGINIS  SECUNDUM  USUM 
ROMANUM  CUM  CALENDARIO.  Manuscript  on 
Vellum.     8°.     XV  Century. 

Latin,  three  hundred  and  six  pages  within  illuminated  borders 
composed  of  flowers,  fruit,  birds,  etc.,  ornamented  with  eleven 
full-page  miniatures  and  twenty-four  small  subjects  in  calendar. 

Bound  in  old  red  morocco  inlaid  with  varicolored  leathers, 
and  elaborately  tooled.  Arms  of  a  former  owner  in  center. 
This  book  subsequently  belonged  to  the  Marquis  de  Menars,  and 
has  his  arms  illuminated  on  fly-leaf  before  the  calendar. 

Size,  4f  x  7  inches. 


99  HOR^  INTEMERAT^  VIRGINIS  MARINE  SE- 
CUNDUM USUM  ROMANUM.  Manuscript  on 
Vellum.     Small  40.     XV  Century. 

A  French  manuscript  by  a  first-rate  artist,  with  eighty-two 
superb  miniatures,  some  of  them  in  camaieu  gris  heightened  with 
gold.  The  borders  surrounding  each  page  are  extremely  rich 
and  varied,  with  flowers,  fruits,  insects,  vases,  columns,  dragons, 
shells,  etc.  The  initials  F.  M.  are  introduced  in  several  places, 
and  at  the  end  is  the  coat  of  arms  of  the  owner,  and  the  inscrip- 
tion "  Horas  presentes  facit  facere  Franciscus  de  Mello  pro  So- 
rore  sua  Domina  Maria  Manuel." 

Bound  in  old  Italian  red  morocco  covered  with  gold  tooling, 
gilt  edges. 

Size,  5j  x  7f  inches. 

4i 


CATALOGUE 

loo  IIOK.K    B.   MARIiE    VIRGIN  IS.      Manuscrifi    o» 
Vellum.     i6°.     XV  Ceni  ury, 

Latin,  four  hundred  and  twenty  n  vtn  pages.    The  calendar 
is  curious  and  unusual,  containing  a  number  of  zodiacal  signs 

and    drawings.       Large     number    of    illuminated     borders    with 
figures  of  insects,  birds,  and    nondescripts. 
Bound  in  modern  vellum. 
.  3  x  4 1  inches. 


■\; 


PERSIAN    AND 
INDIAN    MANUSCRIPTS. 


10 1    HADJA   HAFIZ.      Persian   Manuscript.      Large  8°. 
(s.  D.) 

Manuscript  on  a  bluish  paper,  powdered  with  gold,  written 
within  gold  lines.  The  complete  works  of  the  poet  Hafiz.  Illu- 
minated preface  and  title-page. 

Folding  leather  binding,  stamped  and  painted  with  gold. 


102  RISSALIHI  —  NOURICH.  TREATISE  UPON 
MYSTICISM  AND  POETRY.  Persian  Manu- 
script.     8°.      I234   OF   THE    HEJIRA. 

A  beautiful  manuscript  written  on  an  ornamental  gold  ground 
within  lines  of  gold  and  colors,  with  thirteen  miniatures  and  four 
elaborately  decorated  pages. 

Persian  enameled  binding,  painted  inside  and  outside  the  cov- 
ers with  flowers  and  birds. 

Size,  S  x  7i  inches. 

43 


CAT  ■ 

103  TASHRIHOOL     AKWAM.      Indian     Manuscript. 

.  i".     1825. 

This  manuscript  contains  one  hundred  and  twenty-two  minia- 
tures illustrative  of  the  different  castes  <>f  Hindustan,  with  an  his- 
torical account  of  them,  commencing  with  Vishnu,  who  had  his 
origin  in  the  Divine  Essence.  The  pages  of  the  text  and  the 
miniatures  are   within   gold   borders. 

Hound  in  blue  morocco,  gilt  edges,  by  Chas.  Lewifl 

Size,  8 1  x   \i\  inches. 


104   BOSTAN   UL   MOHADDITHIN,    BY   CM  AH   ALI 
SAHIB   OF   DELHI.     Persian   MANUSCRIPT  WRITTEN 

in   Fine  Characters.     8°.     About   1771. 

The  first  two  and  the  last  two  pages  are  richly  ornamented  in 
gold  and  colors. 

Bound  in  red  morocco. 
6  x  8  J  inches. 


IO5  HIE     BOOK    OF     THE     KINGS     OF     PERSIA. 
An  Old  Persian  Manuscript.     Folio,     (s.  d.) 

Sixty-four   paintings,    portraits   of  kings,    holy    men,    women, 

etc  .  :   with   perfection  and  elaboration.      Each  miniature 

irrounded  with  decorated  border. 

In    Persian   enameled   binding,  with  conventional   flowers  and 
foliage  in  bright  colors. 
,QX    12  inches. 


f  ■ 


fi*« 


OUjJ 


%-»:■&*■ 


! 

I 

I 
i 
I 


»V; 


FROM    THE    BOOK   OF   THE    KINGS    OF    PERSIA 

No.    10^ 


CATALOGUE 

1 06  ARABIC  PRAYER  BOOK.  Manuscript  with 
ixterlineal  persian  translation.  8°.  xviii 
Century. 

Beautifully  written  within  gold  lines  on  a  delicate  green 
ground,  and  decorated  with  several  brilliantly  illuminated  pages 
in  gold  and  colors,  in  which  are  represented  the  Kaaba  at 
Mecca  and  the  Mosque  at  Medina. 

Persian  folding  binding,  painted  with  flowers,  etc. 

Size,  6\  x  9f  inches. 


107  THE   KORAN.     Persian  Manuscript.     Large  8°. 

An  old  manuscript  written  upon  thin  paper  between  ornamen- 
tal gold  lines  and  within  gold  borders.  It  has  six  illuminated 
pages. 

Persian  binding,  painted  with  flowers. 

Size,  5f  x  9f  inches. 


108  KORAN.    Persian  Manuscript.    8°.    XVIII  Century. 

An  exquisite  piece  of  work,  written  upon  gold  ground,  with 
the  translation  in  Arabic  interlined  in  red.  There  are  delicate 
illuminations  and  borders  accompanying  the  text,  and  elaborate 
introductory  pages. 

Persian  binding,  brilliantly  enameled  outside  and  inside  the 
covers. 

Size,   5  x  8}  inches. 

45 


CATALOGUl 

109  AKBUR    NAMMEH.     Persia*    Manuscript.     Folic 
XVII  Century. 

Written  in  Arabic,  and  containing  a  large  number  of  brilliant 
and  delicately  executed  minatures. 

In   Persian   binding,  with  paintings  on  the  sides  of  ^irls  dan- 
cing before  the  court. 

■    14.4  inches 


110  I'KRSIW    MANUSCRIPT.     12  .     XVIII  Century, 

Finely  written  and  illuminated  with  miniatures  and  ornaments 
of  flowers  in  gold  and  colors. 
In  Persian  painted  binding. 
Si:,-,  $\  x  5.I  inches. 


ill    Persian   Manuscript  on   Vellum.     Folio.     XVII  ok 

XVIII    Cl  mi  RY. 

A  poem  by  Sadi  in  tin-  middle  of  the'  pages,  surrounded  by  a 
mi  by  ELoustan,  the  latter  serving  as  a  margin.     Six  minia- 
tures 12x8  centimeters,  three  full-juge  illuminated  illustr. 
and  three  small  illumination^. 

Ornamented  binding,  supposed  to  be  of  eighteenth  century,  in 
brown  in  ith  gold  arabesque  designs  in  relief;    double' 

in  blue  and  maroon  morocco,  with  designs  in  relief. 
hcs. 

46 


FROM  THE  BOOK  OF  THE  KINGS  OF  PERSIA 
No.  IO5 


CATALOGUE 

I  12  VOLUME  OF  PERSIAN  MINIATURES.    In  Folio. 

Twenty-eight  old  Persian  paintings,  embracing  a  variety  of 
subjects  finely  executed. 

Bound  in  old  English  red  morocco,  gilt  edges. 
Size,  12  x  15  inches. 


113   KORAN.    Arabic  Manuscript.     Folio.     XVIII  Cen- 
tury. 

Beautifully  written  between  ornamental  gold  lines,  and  with 
borders  in  gold  to  each  page,  composed  of  flowers  and  foliage. 
The  illuminated  pages  are  of  extremely  fine  execution. 

In  an  elaborate  Persian  binding,  painted  inside  and  out  with 
flowers  in  gold  and  colors. 

Size,  7\  x  1 2  inches. 


114  "TAHFETUL  EBRAD."  A  Collection  of  Admo- 
nitions in  Verse,  by  Sheikh  Abdul  Rahman.  Per- 
sian Manuscript  of  the  year  992  of  the  Hejira, 
or   about   A.   D.   1600. 

The  text  is  written  within  broad  decorated  borders.     There 
are  two  miniatures,  and  several  elaborately  decorated  pages. 
Old  Persian  folding  binding,  gilt  and  painted. 
Size,  7j  x  \\\  inches. 

11  47 


\LOGUl 

115   KORAN  (The  30th  Pai         :      jian Manuscript.     IX 
i  in    I  i  XV  Ci  n  ruRV  A.  I).). 

Written   in   large   gold    letters,   with   ornaments    of  blue    and 

-i.m  cloth  bindii 

Size,  Sj   x   IlJ  /;/, 


I  m  PERSIAN   MANUSCRIPT.     In  Folio.     XVII]  I  i  . 

RY. 

A    Romance,    written    in   double    columns    within   gold    lines. 
me  elaborately  decorated  preliminary  pages,  and  a  large  num- 

:  of  brilliantly  colored  miniature-. 

Persian  binding  in  red  morocco  stamped  and  painl 

Sise,  5-J  x  ioJ,  inches. 


48 


7~~TT 


FROM    THE    PERSIAN    MANUSCRIPT    AKBUR   NAMMEH 
No.    IO9 


PRINTED    BOOKS 
WITH    ILLUMINATIONS. 


117   HEURES   A   L'USAGE    DE    ROUAN.     Large   8°. 
Imprime  pour  Simon  Vostre,  Paris,  1508. 

The  large  Hours  of  Simon  Vostre,  printed  upon  vellum,  with 
engraved  borders  to  each  page  ;  twenty-four  fine  paintings  upon 
the  large  plates,  and  many  illuminated  initial  letters. 

Bound  by  Cape,  in  brown  morocco,  gilt  and  blind-tooled,  gilt 
edges. 


Il8  PONTANI  OPERA  OMNIA.     Three  Volumes.    8°. 
Venice:  Aldus,  15 18. 

The  title-page  surrounded  by  a  brilliant  border  designed  in 
gold  upon  a  red  ground,  and  initial  letters  throughout  painted 
in  gold  and  colors. 

Special  copies  of  books  from  the  Aldine  press  were  some- 
times illuminated  in  this  manner. 

Bound  by  Cape,  in  crimson  morocco,  with  panels  of  olive 
morocco  on  the  sides;  tooled  in  gold,  in  the  style  of  the  Re- 
naissance, gilt  edges. 

49 


\LOGUE 
i  lu  LIVRE    D'HEURES.      I  .     Paws:   Antoinb 

Y:  \KI'.        I.lSS. 

.  upon  paper,  with  the  whole  of  the  borders  ami  en 
plates  c«>! 

Bound  by  Lortic,  in  brown  morocco,  blind-tooled,  and  doubled 
with  red  morocco,  ^ilt  ed 


120  HEURES    A    L'USAGE    DE    ROME.      8°.     Pari-  : 
Kardouyn,   1505. 

Printed    upon   vellum,   with  eighteen  engravings  richly  and 
carefully  painted. 

Hound   in  green  morocco,  with  gold  borders  on  the  gid< 
s,  by  Derome. 


121    LE    PREMIER    SECOND    ET   TIERS    VOLUME 
DEEUGUERRAN  DE  MONSTRELLET  ENSUY 
UANT    FROISSART    Nagubres    Impkimi     \    Paris. 
I  >i     <  France,  1  >angi  1 1  krri  .   Des 

Despaigni   I'l   Bretaigne  db  Gascogni   di  Flandres  ET 
L11  >nvoisins.  Imprimez  i  Paris  four  Anth 

Verard  (aboui  1500).   Threi  Volumes  in  rwo.   Fouo. 

C<  'l>>'  on  vellum,  printed  in  gOthic  t>'p<-.  with  six  miniatures  full 

•  •  md  on<-  hundred  and  fifty-nine  small,  r. 

The  binding  is  a  chef-d'oeuvre  of  Lortic,  in  dark  morocco  inlaid 
with  variegated  colors,  and  elaborately  tooled  with  .1  combination 

50 


CATALOGUE 

of  ornaments  taken  from  sixteenth-century  motives.     It  is  the 
only  one  of  the  pattern  executed  by  this  binder,  and  was  ex- 
hibited by  him  at  the  French  Exposition  in  Paris  in  1878. 
Size,  9^-  x  \2\  inches. 


122  HORE    DIVINE    MARIE      SECUNDUM     USUM 
ROMANUM.     8°.    Hardouyn,   1518. 

Printed  upon  vellum,  with  engraved  borders,  and  having  the 
large  plates  painted  in  gold  and  colors  in  imitation  of  miniatures. 

Bound  in  black  morocco,  blind-tooled,  gilt  edges,  by  F. 
Bedford. 


123  ARETINUS  (BRUNUS),  DE  BELLO  ITALICO 
ADVERSUS  GOTTHOS.  Folio.  Venetiis  :  N. 
Jensen,    147 1. 

With  painted  initial  letters  and  fine  border  in  colors  on  the  first 
page. 

Bound  in  red  morocco,  borders  of  gold,  gilt  edges,  by  Bozerian 
Jeune. 

124AURELII     AUGUSTINI.       DE    CIVITATE    DEI. 

Folio.     Venice,  1470. 

Printed  upon  vellum,  with  the  first  page  of  the  text  and  the 
initial  letters  illuminated  in  gold  and  colors. 
Bound  in  brown  morocco,  by  Marius  Michel. 

51 


CATALOGUE 

125  CICERO.     rUSCULANiB  QUiESTIONES.    Foua 
Vbnetiis,  per  Nicolaum  Jensen,   1472. 

.     printed    upon   eighty-four   leaves    of   vellum,    with   the 
initials  painted  with  great  care  in  gold  and  colors.      Four  copies 
only  of  this  book  are  known  upon  vellum. 
Bound  in  old  blue  morocco,  gilt  ed 

126  HORE    BEATE    MARIE    VIRGINIS    AD    USUM 
PARISl£SEM.     Smm  i.  4  .     Paris,  [498. 

Printed  upon  vellum  in  gothic  type,  with  the  view  of  imitating 

.0  nearly  as  possible  the  manuscript  books  of  Hours.  The  capi- 
tal letters  and  the  borders  are  all  executed  in  free-hand  in  colors, 
while  the  subjects  of  the  large  illustrations  are  engraved  in  out- 
line only,  to  facilitate  the  work  of  the  miniaturist,  who  has 
painted  them  in  a  conventional,  mechanical  manner.  The  result 
is  deceptive  to  a  casual  observer. 

Bound  in  old  brown  morocco  inlaid  with  colored  leathers, 
and   tooled   to  a   Grolier  pattern. 

Size,  A,\   x  Oh  inches. 

127  HEURES  A    L'USAGE    DE    ROME   roirr  mj  1 
Imprimees    a    Paris    par    Guillaume    Anabat,    150;. 

Lai  GE   8°. 
With  very  richly  engraved  bonier-;  the  large  plate-  as  well 

a-  the   small  ones   in  the  text  And  all   the   capital   letters   painted 

in  colon,  and  heightened  with  gold. 

Hound  in  old  Renaissance  red  velvet,  gilt  ed| 

52 


CATALOGUE 

128  HOR^  DIVINE  VIRGINIS  MARIE.  Printed  on 
Vellum  in  Roman  type,  by  Germain  Hardouyn,  Paris  ; 
no  date,  but  with  almanac  for  i52o  to  1532;  ninety- 
six  leaves;  twenty-nine  lines  to  page. 

Twenty-one  full-page  and  twelve  quarter-page  illuminated 
miniatures. 

Bound  by  Matthews,  in  crimson  crushed  levant  morocco 
extra,  gilt  back  and  gilt  edges. 

Size,  4x6  inches. 


129  JUSTINIANI  IMPERATORIS  AUTHENTIC^ 
SIVE  NOVELLA  CONSTITUTIONES,  ETC. 
Codicis  cum  Glossis.     Folio.     Moguntle  :   P.  Schiaf- 

FER,     1477. 

Initial  letters  and  borders  illuminated  in  gold  and  colors. 
Bound  in  old  russia. 


Size,  11  x  i5j  inches. 


130  iEMILII    PROBI     (i.    e.,    CORNELII    NEPOTIS). 

Folio.     Venetiis  :    N.Jensen,  1470. 

The  first  edition,  ornamented  with  initial  letters  in  colors,  and 
a  beautiful  and  elaborate  Italian  miniature  border  surrounding 
the  first  page. 

Bound  in  green  morocco  with  tooled  sides  and  back,  gilt 
edges,  by  Roger  Payne. 

53 


i~i    HEURES   Imprimeis  par  Jean  db   la  Roche;    Paris. 

1514;    POUB    ("'in  MRK   DO    I 

Printed   on   vellum  in   gothic  type,  nineteen   illuminated  full- 
e   miniatures,   fourteen   illuminated   smaller   miniatures,   nine 
illuminated  full -page  ben. 

.   '.     •  mp  of  the  " Abbaye  de  Tard." 
Binding  full  red  morocco,  with  fine  gold  tooling;    probably 
done  in  France  during  the  eighteenth  century. 

.  5   x  S  inches. 


132  VALLENSIS       (LAURENTII)      COMMENTARI1 
GRAMMATICE      SE<  UNDUM       ELEGANTIAM 

LIXGIAE    LATLVH.     Fm.io.    Vknetiis:  N.  Jra 
1471. 

Illuminated  border  to  first  page  (in   which  are   the  Wodhull 
arms),  and   seven   initial  letters  illuminated   in   gold  and  colors. 

Bound   in  old   citron  morocco,  borders  of  gold;  probably  by 
1 1  n  >me. 

■  I  x  13^  inches. 

133  HEURES    A    L/USAGE    DE    ROME     8°.     Paris: 

Vnabat,  Imprimeur,  1500. 

Printed  upon  vellum,  and  with  all  the  engraved  plal 
:  i<  lily  painted  in  gold  and  o  ' 
ind  in  dark  brown  morocco,  blind-tooled,  gill 

Th 

54 


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uactmorpTC  qcuqj.  _ 

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biTpcrpam  i  pftnyulOB  r»i«sv«l»    p  qto  cfiilrmur 
cCTPo|ftbiliatnlut-r-cucmrcetrTeqnttTVtDij:cnit.r.a 
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FROM    THE  JUSTINIAN1 


CATALOGUE 

134  PLYNII    NATURALIS    HISTORIA.     Large  Folio. 
Venetiis:    N.  Jensen,  1472. 

The  initial  letter  contains  the  Bagneri  arms,  illuminated  in 
gold  and  colors ;  opposite  a  curious  flourish  in  colors  of  the 
word  Jesus,  with  sporting  subjects  and  the  Bagneri  arms  re- 
peated. 

From  the  Wodhull  sale.  This  book  has  been  designated 
"The   Glory   of  Jensen's   Press." 

Bound  in  gilt  russia  leather,  by  Roger  Payne,  with  Wodhull 
arms  in  gold  on  sides. 

Size,  1  of  x  1 5^-  inches. 

135  HEURES  A  L'USAGE    DE    ROME.      8°.    Imprime 

PAR    GUILLAUME    ANABAT,   PARIS,   LE     Ier     OCTOBRE,    I505, 

pour  Germain  Hardouyn. 

Printed  upon  vellum,  with  engraved  borders  to  each  page,  and 
having  the  full-page  plates  painted  as  miniatures. 
Bound  in  old  brown  morocco,  gilt  edges. 


136  BOUCHET   (JEHAN).      LAMOUREUX   TRANSY 
SANS    ESPOIR.     40.     Paris:   A.  Verard. 

Without  date,  but  about  1500.  Printed  upon  vellum  in 
gothic  type,  and  containing  twenty  miniatures,  illuminated  in 
gold  and  colors. 

A  very  rare  book,  not  quoted  by  Brunet. 

Bound  in  old  red  morocco,  gold  borders,  edges  gilt. 
12  55 


CATALOGUE 
LIVRE   D'HEURES.     Large  8°.    [mprimei 

PAR      GUILLAUME     ANABAT      POUE     GlLLEI     M     GERMAIN 

I  I  A!   IX  'I   V\,     I  50;. 

Printed  upon  vellum,  with  the  border  of  every  page  richly  and 

elaborately  painted  in  gold  and  colors. 
ad  in  old  red  morocco,  by  1  ><.• 


50 


A    LIST    OF    SOME    OF    THE    MOST 

IMPORTANT    BOOKS    UPON 

OLD    MANUSCRIPTS. 

LES  ARTS  SOMPTUAIRES  HISTOIRE  DU  COS- 
TUME ET  DE  LAMEUBLEMENT  AVEC  TEXTE 
EXPLICATIF  PAR  CH.  LOUANDRE.  Four  Vol- 
umes.    4°.     Paris,  1857. 

This  work  contains  a  large  number  of  chromo-lithographic  fac- 
similes of  miniatures  and  ornaments  from  old  manuscripts. 


LE  MOYEN  AGE  ET  LA  RENAISSANCE.  Histoire 
et  Description  des  Mozurs  et  Usages,  du  Commerce 
et  de  l'lndustrie,  des  science,  des  arts,  des  lltte- 
ratures  et  des  beaux-arts  en  europe.      direction 

LlTTERAIRE    DE     M.    PAUL    LaCROIX.        DIRECTION    ArTIS- 

tique  M.  Ferdinande  Sere.  Dessins  fac-simile  par 
M.  Rivaud.     Five  Volumes.     40.     Paris,  1 848-1 851. 

Contains  articles  upon  calligraphy,  illumination,  and  miniature 
painting,  with  chromo-lithographic  reproductions. 

57 


BIBLIOGRAPHY 

DRESSES  AND  DECORATIONS  OF  THE  MID 
DLE  AGES,  i'.  Henry  Shaw,  !•'.  S.  A.  Two  \  i 
dues  Largs  8°.     London.  1843. 

Contains   a   large    number   of  colored    illustrations   from   old 
manuscripts,  with  descriptive  text. 


LABARTK  (Jl'LKS).  HISTolRl.  DES  ARTS  IX- 
DUSTRIELS  AD  MOYEN  AGE  ET  A  L'fePOQUE 
DE  LA  RENAISSANCE.    Six  Volumes.    4°     Paris: 

LlBRAIRIE    DE    A.    MOREL    &    ClE.,    [864- 1 866. 

The  worl.  flour  volumes  of  text  and  two  of  illustra- 

tions in  gold  and  colors.  Reproductions  of  miniatures  from 
manuscripts  are   in  Vol.   II   of  the   illustrations. 

One  hundred  copies  were  printed  on  large  paper. 


I  ES  MANUSCRITS  A  MINIATURES  DE  LA 
BIBLIOTHfeQUE  DE  LAON  I.  HI  Mis  AU 
COIN  I  DE  VUE  DE  LEUR  ILLUS1  RA  HON, 
par  Edouard  Fleurv.      Two  Volumes.     \  .      Paris, 

This  i    a  most  interesting  work,  presenting  an  analysts  of  the 

various    itykfl   of  ornamentation  found    in   the    manu-cri;  I 

illustrated  by  1  .m  fully  executed  plal 

58 


BIBLIOGRAPHY 

A  DICTIONARY  OF  MINIATURISTS,  ILLUMI- 
NATORS, CALLIGRAPHERS,  AND  COPYISTS, 
From  the  Establishment  of  Christianity  to  the 
Eighteenth  Century,  by  John  W.  Bradley,  B.  A. 
Three  Volumes.     8°.     London,   1887- 1889. 

THE  ILLUMINATED  BOOKS  OF  THE  MIDDLE 
AGES:  An  Account  of  the  Development  and  Pro- 
gress of  the  Art  of  Illumination,  as  a  Distinct  Branch 
of  Pictorial  Ornamentation,  from  the  IV  to  the 
XVII  Century.  By  Henry  Noel  Humphreys.  Illus- 
trated by  a  Series  of  Examples,  of  the  size  of  the 
Originals,  selected  from  the  most  beautiful  Manu- 
scripts   OF   THE    VARIOUS    PERIODS,    EXECUTED    ON    StONE 

and  printed  in  colors  by  owen  jones.  folio  and 
40.     London,  1844- 1849. 

Although  this  splendid  volume  cannot  be  regarded  as  equal 
in  magnificence  to  the  work  of  the  Comte  De  Bastard,  it  is  a 
most  meritorious  and  successful  effort  to  produce  a  similar  pub- 
lication in  England  executed  by  the  same  process  and  at  a  mod- 
erate expense.  It  contains  thirty-nine  very  fine  examples  of 
illuminated  manuscripts  of  various  ages  and  countries,  excellently 
drawn,  colored,  and  gilded,  derived  from  both  British  and 
foreign  libraries,  arranged  in  a  systematic  order,  with  copious  de- 
scriptions, and  an  introductory  sketch  of  the  rise  and  progress 
of  the  art  of  illumination.  The  work  was  originally  published 
in  thirteen  parts,  in  quarto  at  12s.  each,  and  in  folio  at  £1  is. 

59 


BIBLIOGRAPHY 

AS!  LE     1  HOS.  .    I  ORIGIN  AND  PR<  >GRESS  I  )] 
WRITING.     Second  Edition.    4  .     London,  1S03. 

The    first   edition,  published    in    17S4,    in    4    ,  i^   of  little   value 
ired  with  that  of  1803. 


THI-;   ART   OF    ILLUMINATING  AND    MISSAL 

PAINTING:   A  Guide  ro  Modern  Illuminators.    Il- 

r  a  Series  of  S  m  richly  illu- 

minai ed  Manuscripts  <>i  various  peri* >ds,  a<  i  •  impanh  d 

btoi  (  Outlines,  ro  be  coi  ored  by  the  Student 

DWG     I"    THE    THEORIES    DEVELOPED    IX    Till     work. 

By  Henry  Noel  Humphreys.     Square  8  .      London, 
[849. 


UNIVERSAL  PALEOGRAPHY;  or,   Fa<  -simi 
Writings  of  all  Nations  and  Pei  imthe 

bbratbd  and  authentk    Manuscripts  in   ihk 
Libraries  and  Archives  01  France,  Italy,  Germany, 
and  England,  by  M.  J.  B.  Silvestri  :  accompanied  by 
an  historicai   ind  descriptive  Texi   uro  Introduction 
iampoluon-Figeai    \m»  Aimi    Champollion,  Fils. 

I  LATED  FROM   THE   FRENCH,    iND  EDITED,  win  I  COR- 

re<  1  ions  and  Notes,  bi  Slr  Frederk    Madden,  K   II.. 

F.  R.  S.,  Keeper  01  1  m  Di  pari  mini  01  Manus<  rifts  w 

•  :  iiisn  Museum.  Two  Volumes.  8  .  London,  185a 

So 


BIBLIOGRAPHY 

THE  LIFE  AND  WORKS  OF  GIORGIO  GIULIO 
CLOVIO,  Miniaturist,  with  Notices  of  his  Con- 
temporaries and  the  Art  of  Book  Decoration  in 
the  Sixteenth  Century,  by  John  W.  Bradley,  B.  A. 
8°.     London,  i8qi. 


PALAEOGRAPHIA  SACRA  PICTORIA :    Being  a 

Series  of  Illustrations  of  the  Ancient  Versions  of 
the  Bible,  copied  from  Illuminated  Manuscripts 
executed  between  the  iv  and  the  xvi  centuries. 
By  J.  O.  Westwood,  F.  L.  S.    40.     London,  1 843-1 845. 


PEINTURES  ET  ORNEMENTS  DES  MANU- 
SCRITS,  CLASSES  dans  un  Ordre  Chronologique,  pour 

SERVIR    A    L'HlSTOIRE     DES    ARTS    DU    DeSSIN,     DEPUIS     LE 

yiEME  sIECLE  de  l'Ere  Chretienne  jusqu'a  la  fin  DU 
XVIi£me  pAR  LE  Comte  A.  De  Bastard.  Folio. 
Livraisons  I-X.     Paris,  1835 -1843. 

It  is  stated  by  M.  Aime  Champollion  Figeac  that  each  livraison 
of  this  splendid  production  is  charged  1,800  francs,  and  that  the 
whole  expense  of  every  copy  will  exceed  100,000  francs.  If  the 
design  should  ever  be  completed,  the  work  is  intended  to  consist 
of  a  series  of  geographical  sections,  exhibiting  the  character- 
istics of  the  illuminations  of  various  countries ;  but  only  that 
relating  to  France  is  now  in  the  course  of  publication. 

61 


BIBLIOGRAPHY 
ILLUMINATED   ILLUSTRATIONS  OF  THE  BI- 

BL1   .  COPIED   I  HI    Mil'l-I  E 

r.v  J.  ( ).  Westwood.      Small   4  .     London, 

iS45- 

Though  the  principal  object  of  the  first  of  these  works  was  to 
tit  the  writing  of  the  manu  ferred  to,  yet  the  num- 

ber of  illuminated  ornaments  and  paintings  connected  with  those 
fac-similes  is  very  considerable,  and  comprises  many  very  inter- 
esting examples.      The  descriptive  text  alto  Is  COpioUS,  and  full 

of  valuable  information. 


LIBRAIRIK  DKJKAN  DK  KRAXCK,  Dw   Di  B 

I        1   du  I\«»i  Charles  V,  publh  b  i  n  sow  bnto  b  poub 

i  a  pr]  i  i'i  1    i'i   1  \  Vie  db  ci   Prince  : 

[LLUSl  1-1  1     M      i'i  1  S    BEL]  BS    Mima  HIRES    Dl 

,     ICCOMFAGNEE    DE    NOTES    BlBLIOGRAPHIQUES,     11 

de   Recherches  pour   servib  \  l'Histoirb  DBS 
I  >i  ssro  \;    M01 1  n  Ace.     Pab  i  1   Com  i  1   Au 
1   I  >i   B  \  rABD.     Foi  i".     Paris,  1834. 

Only   thirty-two  plates  of  this  very  fine  publication  were 
issued,  with  the  memoir  of  the  Hue  De  Berry,  when  the  design 
iven  up  and  the  ensuing  splendid  collection  commenced, 
in  which  wen-  reproduced  some  of  the  illustrations  intended  for 
this  interesting  <  in  both  of  these  works  the  illustra- 

tions are  printed  in  colors  and  gold  by  the  process  ol  chromo- 
lithography. 


BIBLIOGRAPHY 

A  TREATISE  ON  PAINTING.  Written  by  Cennino 
Cennini  in  the  Year  1437,  and  First  Published  in 
Italian  in  1821;  Translated  by  Mrs.  Merrifield. 
8°.     London,  1844- 


ILLUMINATED  ORNAMENTS  SELECTED 
FROM  MANUSCRIPTS  AND  EARLY  PRINTED 
BOOKS,  FROM  THE  SIXTH  TO  THE  SEVEN- 
TEENTH CENTURY.  Drawn  and  Engraved  by 
Henry  Shaw,  F.  S.  A.,  with  Descriptions  by  Sir  Fred- 
eric Madden,  K.  H.,  F.  R.  S.,  Assistant  Keeper  of  the 
Manuscripts  in  the  British  Museum.  40.  London, 
1833- 

This  work  was  originally  published  in  twelve  parts,  some 
copies  of  which  were  printed  on  imperial  quarto  paper  and 
heightened  with  gold.     It  contains  forty  plates. 


PALEOGRAPHIE  UNIVERSELLE.  Collection  de 
Fac-similes  d'Ecritures  de  tous  les  peuples  et  de  tous 
les  temps  ;  tires  des  plus  authentiques  documents  de 
l'Art  Graphique,  Chartes,  et  Manuscrits,  existant 
dans  les  Archives  et  les  Bibliotheques  de  France, 
d'Italie,  d'Allemagne,  et  d'Angleterre,  publies 
d'apres  des  modeles  £crits,  dessines,  et  peints  sur  les 

13  63 


BIBLIOGRAPHY 

I.1EUX,   PAR   M.  J.   B.  Sll  'iTOMi'ACMS   d'ExPLI- 

cat;  H  D  MM.  Cb 

■       i  Aimi    Champoi  lion,   Fua      I 

I  Paris,   [839-1842. 

!  this  extremely  beautiful  publication  iraS  to  il- 
lustrate  the   history  and   practice  of  the  art  of  writing  in  all 

08,  the  introduction  of  illuminations  and  miniatures  is 
only  incidental,  as  such  decorations  might  occur  in  the  specimens 
selected  ;  but  in  the  who!,  -,  ries  those  examples  are  both  numer- 
ous and  interesting,  as  well  as  faithfully  and  beautifully  executed. 


OEUVRE  DE  JEHAN  FOUCQUET.    TwoVolumes. 

8  .     Pari        L.  C   rmi  r,  1866. 

The  first  volume  contains   fac-simil.-  copies  in  chromo-lithog- 
raphy  of  miniatures  and  borders  executed  by  Foucquet 
The    second    volume    contains   an   account   of  the    art:  I 
tries. 


I  \l\  l  km  n   <>i    (MM  ORN1  v  I  EBB  \R\ 

Bl  KK  I  I  I  \ 

Return  (o  desk  horn  uhidi  honour. 1. 

I  his  hook  is  ni  i  on  the  Ian  date  stamped  bdoir. 


m  3   J948 


RECCIR  JUN  1 5  '8: 


iii  in  nun  ii  i 


M9476' 


NDa 


THE  UNIVERSITY  OF  CALIFORNIA  LIBRARY 


